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A WANDERER 
AMONG PICTURES 


E. V. LUCAS 













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Photo Hanfstaengl 


THE MAN WITH THE GOLD HELMET. Rembrandt 
Berlin 





A WANDERER 
AMONG PICTURES 


By 
EK. V. LUCAS 


ILLUSTRATED 





GARDEN City PUBLISHING ComPaANy, INC. 
GARDEN CITY NEW YORK 


COPYRIGHT, 1924, 


BY GEORGE H. DORAN COMPANY 


A WANDERER AMONG PICTURES 


PRINTED IN THE UNITED STATES OF AMERICA 


SCMAmow rie « 
RES / Imm A eee 


Perens yy 


BETTY. RE i INSTITUTE 


PREFACE 


HIS book consists of articles originally writ- 
ten for serial publication. All have been 
augmented, and in the case of London and Paris 
new matter has been written to cover the Wallace 
Collection, the Tate, South Kensington, Dulwich, 
the Luxembourg, the Petit Palais, and the Jeu de 
Paume. 
The difficulty—or rather the impossibility—for 
a book of this kind ever to keep absolutely level 
with the changes and additions in the public gal- 
leries, is illustrated by the fact that in the National 
Gallery now hang a score of pictures that were 
given to it since these pages were sent to the printer. 
They were either acquired by purchase or presented 
in honour of the centenary, and they include two 
Raeburns, one of them, Henry Dundas, Viscount 
Melville, magnificent, a mellow Peter de Hooch, 
with some animals in it that suggest another hand, 
certain interesting Italian and Flemish examples, 
a Zaganelli, a very charming Van der Werff Ma- 
donna and Child, the Child divinely painted, and a 
debatable Murillo, bringing the numbering to 
3910. Meanwhile the Jeu de Paume in Paris, 
after being so recently rehung, and, as we thought, 
permanently, with the foreign works that used to 
Vv 


vi PREFACE 


be in the Luxembourg, is at the moment of writing 
devoted to an exhibition of Swiss art from Holbein 
onwards. 

The lover of pictures cannot grumble if the good 
fortune of galleries is constantly throwing guide- 
books out of date; rather is it a matter for rejoicing. 
I merely explain. 

EK. V. L. 

August, 1924 


CONTENTS 


CHAPTER 


I 
II 


Il 


IV 


Vil 


Vill 


XI 


PRPTRODUCTOSY (of 2. Pk eas ie is 
Lonpon : en WET Pere 
(1) The N Dea hin 
Lonpon . 
(2) The Tate, the Wallace, a Other 
Collections 
Paris 
(1) The Tere Old payee 
Paris 


(2) The ee fae Picts 


Paris 
(3) The Patenbirg ae ‘Other Gal- 
lertes 
Maprip 
The Prado 


Mivan 
The Brera and Other Colestions 
FLORENCE 
(1) The Uffizi 
FLORENCE . . ah ee 
(2) The Pitti Pe Others 
Rome 


Vatican Frescoes 
Vil 


103 


113 


123 


133 


145 


155 


Vill 
CHAPTER 
XII 

mt 
XIV 
XV 
XVI 

— XVII 
XVIII 
XIX 
xX 


CONTENTS 


VENICE . 
VIENNA . 
Municu 
DRESDEN 
BERLIN . 
AMSTERDAM 
Tue Hacur 
ANTWERP 


BrusseE1s 


DDE es 


Cuarter I: INTRODUCTORY 


ar 




















BACCHUS AND ARIADNE. ‘Titian 
National Gallery, Londo 





€ FAS AS OS Or 


Reo 4 





THE ANNUNCIATION. Crivelli 
National Gallery, London 


A WANDERER AMONG 
PICTURES 


CHAPTER I 
INTRODUCTORY 


HE purpose of this book is rather to lay em- 
phasis on the few pictures that ought not to 
be missed than on the many that must be seen. In 
other words, it has been put together for the travel- 
ler in haste. The traveller with time for many 
visits to each or any gallery will prefer to make his 
own selection and possibly may provide himself with 
this book only for the pleasure of disagreeing with 
it. No harm done; for my wish is that others should 
come to share the excitement which, when among 
pictures, possesses me; never that I should be looked 
upon as an expert. 

The galleries described were last visited in 
1923-24, but the arrangement of them is so often re- 
vised that already some of the positions noted in 
these pages may have been changed. The pictures 
themselves should, however, be easily traced; and 
even if they are traced not with ease but difficulty, 


the hunter is still to be envied, for I know of few of 
17 


18 A WANDERER AMONG PICTURES 


the minor pleasures of life that are more amusing 
than the search for one picture among many. 

In the process of making such a survey as this 
certain surprises are inevitable. One naturally ex- 
pects that the galleries of each country should give 
most space to the work of the artists of that country, 
and the expectation is fulfilled—thus, at the Louvre 
the French rooms, from the Clouets to the Men of 
the Thirties, are representative (the later French 
painters being at the Luxembourg, as the later 
English are at the Tate) ; at the Prado we find the 
Spanish school from Coello to Goya; in Florence 
and Venice, the various Italian schools; in Ger- 
many, the Early Germans; and in Belgium, the 
Flemings, both the marvellous primitives and the 
later florid derivatives of Rubens; in Holland, the 
Dutch. But the surprise, everywhere but in Hol- 
land, Belgium, and Italy, is the attention that has 
been paid to strangers too. Amsterdam and The 
Hague, Brussels and Antwerp, Florence, ‘Milan, 
and Venice, with the exception of the two or three 
small rooms in the Uffizi, are almost exclusively 
patriotic; but everywhere else the greatest masters 
of other countries, at any rate down to the time 
of Van Dyck, are to be found—and in the case of 
Rubens they are to be found in astonishing 
profusion. 

Indeed, the principal revelation of my tours is 
the abundance and vigour of Peter Paul Rubens, 
and the hold which his genius had on the great col- 
lectors of his time. His “Marie de Médicis” series, 


INTRODUCTORY, 19 


together with a number of other works, challenge 
the eye at the Louvre; at the Prado there are more 
than sixty works, many of them wholly from his 
own brush; again in Vienna, both at the Museum 
and the Liechtenstein; again in Munich, in Dres- 
den, in Berlin, and, of course, in Brussels, and in 
his home city, Antwerp—to say nothing of what 
is usually called his masterpiece, in the Cathedral 
there. And not only the finished pictures, but the 
masterly rapid oil sketches for them. 

It is known, of course, that Rubens had many as- 
sistants; but the fact remains, continually astonish- 
ing, that at the back of it all was this one great 
force, who had time also to be an Ambassador, a 
scholar, a country gentleman, and a good deal of a 
husband. Before such a manifestation of power, 
energy, and vivacity one is bewildered. 

After Rubens, I should say, from my recent ex- 
perience, that the two most prolific painters in his- 
tory are David Teniers the Younger (1610-90) and 
Adrian van Ostade (1610-85). I mean among the 
Old Masters. I suppose that Turner’s abundance 
exceeds all. 

The other surprise, or renewed and vivified real- 
isation, is the perfection and diffusion of the Dutch 
—a surprise intensified by reflection upon the brief 
space of time (less than the whole of the seventeenth 
century) in which these people made themselves 
masters of their medium and enriched the world. 
The National Gallery’s Dutch pictures are of the 
finest; so are those in the Louvre, more numerous 


20 A WANDERER AMONG PICTURES 


than ours; so are the few in the Uffizi; so are the 
many in Vienna, and the many in Munich, and the 
many in Dresden, and the many in Berlin, and the 
many in Brussels and the many in Antwerp—while 
it is hardly likely that the best of all were allowed 
to leave Holland! I have seen recently thousands 
of Dutch paintings, and I can say, such was the 
solicitude with which the artists prepared their can- 
vases or panels, and such the excellence of their 
colours, that hardly any are in poor condition, and, 
with the possible exception of a Hals and a Jan 
Steen here and there, painted probably when those 
convivial masters were a little too festive, or too 
desirous of hurrying off in order to be festive again, 
not one that shows signs of carelessness. 

But this is only part of the surprise. The full 
surprise takes count of the marvel of fecundity al- 
lied to perfection, and also of the remarkable cir- 
cumstance that for every Dutch painter of the high- 
est quality there were half a dozen runners-up 
hardly less admirable; so that if Rembrandt (who 
stands, however, in a class by himself) were elimi- 
nated, there would still be Govaert Flinck and Jan 
Lievens, Aert de Gelder and Salomon Koninck; if 
you take away Gerard Dou there are Schalcken and 
the Mierises; if you take away Terburg there is 
Metsu; if you take away Brouwer there is Ostade; 
if you take away Van Goyen there is Salomon 
Ruisdael; if you take away W. van de Velde there 
are Jan van de Capelle and Dubbels; and so forth 
—every genre having its group of champions be- 





ORIGIN OF THE MILKY way. ‘Tintoretto 
National Gallery, London 





INTERIOR OF A DUTCH HousE. Peter de Hooch 
National Gallery, London 





INTRODUCTORY 21 


tween the comparative merits of whom you could 
hardly put the point of a pin. 

I ought perhaps to add, as a third surprise, the 
infrequency with which, in the great public Conti- 
nental collections, one finds examples of the British 
School. After the few good pictures at the Louvre 
one searches almost in vain, until Berlin, for any- 
thing by an English hand. 

Finally, let me say that the Brussels Gallery is 
the only one among those described here that never 
charges for admittance. 





Cuarter II: LONDON 





of F 


Cuapter II 
LONDON 

The National Gallery 
I: HISTORY 


EFORE 1824, although fine private collec- 
tions of Old Masters were to be found in every 
county and almost every large city, England had no 
national treasure-house of art; and it was one of 
the private collections which, not bequeathed but 
purchased, formed the nucleus of the wonderful as- 
semblage of paintings—between three and four 
thousand—that are now divided between the Na- 
tional Gallery in Trafalgar Square and the Tate 
Gallery on the Embankment. 

The first hint of a National Gallery for London 
that has been found is in a speech in the House of 
Commons in 1777 by John Wilkes, on the occasion 
of Burke’s motion that the grant to the British 
Museum should be increased. Wilkes, supporting 
it, advocated the building of a picture gallery there 
and the acquisition of the Houghton Collection as 
the nucleus of a National Gallery. But the pro- 
posal was not favourably received and the Hough- 


ton Collection went to Russia. 
25 


26 A WANDERER AMONG PICTURES 


The next effort was in 1799 when the pictures 
now in the Dulwich Gallery—with certain excep- 
tions—were offered. 'These pictures had been orig- 
inally brought together by a Frenchman named 
Noel Joseph Desenfans, who, acting for King Stan- 
islaus of Poland, acquired works of art for a Polish 
National Gallery in Warsaw. Upon the partition 
of Poland in 1795 Stanislaus abdicated, and the 
pictures were thrown on Desenfans’ hands. In 
1799 he published a plan for a National Gallery in 
London, of which his pictures were to form the nu- 
cleus. Nothing resulting, he exhibited the collec- 
tion in 1802, and added to it from time to time until 
his death in 1807; and later, as I shall show when 
we reach Dulwich, a home was built for them there. 

We now come to 1824. ‘The nucleus of the Na- 
tional Gallery, as we know it, consisted of thirty- 
eight pictures from the collection of John Julius 
Angerstein, a Russian by birth, who became a Lon- 
don merchant and the founder in 1774 of the new 
Lloyd’s at the Royal Exchange. Angerstein died 
in 1822, at his house, 100 Pall Mall, and a number 
of amateurs of art, corresponding to the committee 
of that admirable and enthusiastic body, the Na- 
tional Art-Collections Fund to-day, immediately 
bestirred themselves to see what could be done to 
keep his pictures together. According to the offi- 
cial catalogue, the prime mover was King George 
IV, but I have always understood that the ring- 
leader in this admirable conspiracy was another 
George, Sir George Beaumont, the friend of 


LONDON 27 


painters and poets (Wordsworth inscrived more 
than one copy of verses to him, and Coleridge was 
indebted to him for many services), a collector, and 
himself a painter of landscapes, one of which be- 
longs to the nation but is rather ungratefully hid- 
den away. Sir George, who promised that if a Na- 
tional Gallery could be formed it should have the 
pick of his own pictures too—among them four 
Claudes—brought his eloquence to bear upon the 
Prime Minister, Lord Liverpool, with such effect 
that in April, 1824, the Government agreed that a 
sum of £57,000 should be set aside with which to 
make the desired purchases. For a few years the 
pictures thus acquired remained on view to the pub- 
lic at Angerstein’s house, increased in number in 
1826 by Sir George Beaumont’s gift of sixteen. I 
should like to say that to Beaumont we owe also a 
sublime masterpiece which too few Londoners are 
aware of—Michelangelo’s bas-relief of the “Ma- 
donna and Child” in the Diploma Gallery at Bur- 
lington House. He died in 1827. 

In 1834 the pictures were moved to 105 Pall 
Mall; and in 1838, when the present building was 
ready for them, they were lodged in its West Wing, 
the East Wing being, until 1869, the preserve of 
the Royal Academy. King George IV did not 
live to see the National Gallery built, but his old 
home, Carlton House, supplied the columns that 
now form its portico. 

After the Angerstein pictures, as I have said, 
came Sir George Beaumont’s gift of Claude, Wil- 


28 A WANDERER AMONG PICTURES 


son, Rubens, and so forth—sixteen pictures in all 
—and the bequests of the Rev. W. Holwell-Carr in 
1831, Lord Farnborough in 1838, and the marvel- 
lous collection of Turners, which could fill a Na- 
tional Gallery by themselves, in 1851. In 1853 an 
annual grant of £10,000, since reduced to £5,000, 
was put at the disposal of the authorities, and this 
sum was, from time to time, increased by special 
Treasury grants and by private financial bequests, 
such as £10,000 from Thomas Denison Lewis in 
18638, £23,104 from Francis Clark in 1881, and 
£99,909 from Colonel Temple-West in 1907. In 
1910 came the miscellaneous and very interesting 
collection of works assembled by that ardent en- 
thusiast, George Salting, and, in 1916, the Layard 
pictures from Venice. ‘The Wertheimer Sargents 
were added in 1928, and then came the Ludwig 
Mond Bequest. ‘Thanks to the constant vigilance 
of the National Art-Collections Fund, single ac- 
quisitions of great value are frequent. 

This survey will show that most of the foreign 
collections have had a Royal origin. The National 
Gallery, on the contrary, has been built up almost 
independently of the Crown, by purchase through 
the Treasury grants, by bequests of money and pic- 
tures, and by gifts. Queen Victoria, in 1863, gave 
several pictures in memory of the Prince Consort, 
among them the very charming Pinturicchio “Ma- 
donna and Child,” and King George V has, from 
time to time, lent something, such as, at the moment, 
his portion of the composite Pesellino “Trinity,” 


LONDON 29 


a triptych by Cranach, and Gentile da Fabriano’s 
“Virgin and Child.” But, otherwise, the National 
Gallery has had to rely chiefly on private testa- 
mentary benevolence. 

Yet how splendid are the results! for, if the desire 
of the visitor is to get, swiftly, a just idea of what 
the paint-brush in the ablest hands, in all countries 
and at the most inspired periods, has been able to 
accomplish, the National Gallery can, of all gal- 
leries, best tell him. 


Il: THE PICTURES 


Every time I visit the National Gallery I am 
more impressed by its excellence and wealth; and 
within reasonable space to enumerate its chief 
treasures is a too difficult task. I propose, there- 
fore, merely to take the rooms in numerical order 
—which I may say is, alas! not the same as historical 
or even geographical order—and mention what, in 
my opinion, is outstanding. 

In Room I (over the entrance to which are heads 
of Leonardo, Correggio, and Rembrandt) there 
are the earliest examples of Christian art. The 
rarest work perhaps is the Masaccio altar-piece, but 
the tragic intensity of the little Castagno “Cruci- 
fixion” holds me more. Paolo Uccello’s famous bat- 
tle-piece, “The Rout of San Romano, 1432,” when 
the Florentines defeated the Sienese, is also here. 
What this pioneer (1397-1475) did not know of 
drawing he made up for by his glorious sense of 
decoration. | 


30 A WANDERER AMONG PICTURES 


Room IT is chiefly Botticelli’s and his School, and 
it is notable for the sweetness of its faces, whether 
of Madonnas or their angelic companions. The 
most popular picture is probably Botticelli’s “Ma- 
donna and Child,” No. 275, but I turn first to the 
two pictures attributed to the School of Verrocchio 
the “Madonna and Child with Angels” and the 
“Angel Raphael and Tobias,” where there is move- 
ment almost as of flight. Lorenzo di Credi (who 
was trained in Verrocchio’s studio) has two Ma- 
donnas here whose blue robes are a joy. 

In Room III we find the “Nativity and Singing 
Angels,” by Piero della Francesca, all faded, but 
so very beautiful, and his “Baptism of Christ,” 
which is both a religious picture and a cool har- 
mony. ‘The bather removing his shirt is a dexterous 
detail. A series of three panels by Perugino fills 
one’s eyes with its gracious glow. 

In Room IV is the composite Pesellino, so curi- 
ously assembled from different sources. ‘There are 
also various church pictures, pretty and simple. 

With Room V we come to the School of Lom- 
bardy—Leonardo and his followers, whom we shall] 
see in strength at Milan. “The Virgin of the 
Rocks” is the masterpiece here; the rest are skilful 
and pleasing rather than great. 

With Room VI we come to Venice and Padua, 
the chief figures being Giovanni and Gentile Bel- 
hni and Mantegna. Perhaps Giovanni Bellini’s 
portrait of the Doge Leonardo Loredano is the 
favourite work, but his brother’s portrait of the 


LONDON 31 


Sultan Mohammed II, one of the recent Layard 
Bequest pictures, has extraordinary interest. Sul- 
tans were not in the habit either of visiting foreign 
cities or of being painted by Christians. The date 
is 25 November, 1480. Giovanni Bellini in all his 
moods is here; while his brother-in-law, Mantegna, 
is well represented too, with the “Agony in the 
Garden” as the masterpiece. Never were men so 
asleep as the three disciples. At the other extreme 
of religious painting we have the “St. Jerome” of 
Catena, where imagination gives way completely to 
the most matter-of-fact invention and even the lion 
is tidy. Catena’s large picture of the “Warrior 
Adoring the Infant Christ’? has much bland charm. 
I must mention also the little Giorgione study for 
the St. Liberale in the Castelfranco altar-piece, 
once the property of Samuel Rogers, the poet- 
banker or banker-poet, which used to be thought a 
portrait of Gaston de Foix, and the extremely 
beautiful and touching “Crucifixion,” by Antonello 
da ‘Messina. Lastly, there is a little, vivid, spark- 
ling “St. Anthony and St. George,” by Pisano the 
medallist, usually called Pisanello, given by Lady 
Eastlake in memory of her husband, Sir Charles, 
whose directorship of the National Gallery was so 
fruitful. 

Room VII is entirely Venetian, and it is here that 
we find the “Bacchus and Ariadne” and the other 
Titians, the Giorgionesque “Noli me Tangere,” and 
Tintoretto’s “Origin of the Milky Way,” that su- 
preme piece of brilliant virtuosity, which was, I 


32 A WANDERER AMONG PICTURES 


imagine, painted for a ceiling decoration and should 
be looked at as such. Here are the Paolo Veroneses, 
notably the “St. Helena’; the Moroni and Moretto 
portraits, so calm and distinguished, of which per- 
haps the masterpiece is Moroni’s “Lawyer”; the 
dashing oil sketches of the Trojan horse by Tiepolo; 
and two perfect Guardis, Nos. 2098 and 2524. ‘The 
copy of a Bellini by Poussin, now on loan from the 
Scottish National Gallery, is a glorious work, com- 
bining the genius of two of the most interesting 
painters in the history of art. ‘The Ferrarese battle- 
piece, No. 1062, although something of a muddle 
as design, is enchanting as decoration. 

Room IX, the first of the three Dutch rooms, is 
the least worthy room in the Gallery. With a few 
exceptions, such as the Gerard Dou “Poulterer’s 
Shop,” that miracle of minuteness without petti- 
ness, and works by Hobbema, Ruisdael, W. van de 
Velde, Metsu, and Jan van de Capelle, it is almost 
negligible, since so much finer Dutch work awaits 
us in Rooms X and XII. The little Vroom land- 
scape should be sought for. (I take Rooms X and 
XII together because they join. Room XI, which 
leads out of Room X, is Italian.) 

Room X is the large Dutch room, where the 
principal Rembrandts and Cuyps and Ruisdaels 
hang. The greatest Ruisdael is the “Landscape,” 
No. 990, which so stimulated Constable; while, for 
vivacity and light and mastery in one, there is noth- 
ing more striking than his “Shore at Schevenin- 
gen”; and we find light again in the Van der Hey- 


LONDON 33 


den and Berck-Heyde street scenes, in the Jan van 
de Capelle “Calm” and in the curious large family 
group by Sweerts. ‘The little Jan Steen “Skittle 
Players” shows the jovial innkeeper bestowing 
more care than usual on every detail. It is another 
proof of George Salting’s good luck as a collector 
as well as of his taste. Rembrandt’s portrait of 
himself is perhaps his finest work in this room; 
while the evening landscape, No. 58, one of the 
Angerstein pictures, is the best Cuyp. ‘The best 
Hobbema is perhaps No. 2571, another Salting gift, 
but all the National Gallery Hobbemas are gems. 

Room XIT is one of the most fascinating of the 
whole gallery, for here are the picked smaller 
Dutch examples. Perhaps the honours are with 
Rembrandt, the recent picture, “The Philosopher,” 
with its broken light on the wall, being by no means 
least important. The power of the “Woman bath- 
ing’”’ is irresistible. Then I should name Peter de 
Hooch’s “Interior of a Dutch House” for its light 
and colour; and Hobbema’s “Avenue” for its serene 
dignity, and his “Village with Water Mills,” for its 
glitter and sunshine; and the great Koninck, where 
all Holland is spread out; and the two De Wittes, 
so different: one a church interior and the other a 
fish market; and the Brouwer landscape, with To- 
bias and the Angel, which used to be called a Rem- 
brandt; and the little peaceful seascape by Dubbels 
and another quiet seascape by W. Van de Velde; 
and the Frans Hals and the Van der Helst por- 
traits; and the Terburg “Guitar Lesson” and the 


34 A WANDERER AMONG PICTURES 


little full-length by the same hand; and the Metsu 
“Music Lesson,” and the Jan Steen “Music Mas- 
ter,” and the two Vermeers, and the little captivat- 
ing new picture by Fabritius, who was Vermeer’s 
master. In this room the “Peepshow” which has 
lately been presented by Sir Robert Witt, one of 
the Trustees, has been placed. 

Rooms XIV and XV are Flemish. Beginning 
with XIV, we find Rubens once more in a well- 
chosen selection from the many works that the Na- 
tional Gallery possesses. Most of his moods are 
represented, from the delicacy of the Susanne Four- 
ment portrait to the vigorous coarseness of the 
“Triumph of Silenus,” while the three landscapes 
are superb. Perhaps the finest thing in the room 
is Van Dyck’s head of Cornelius Van der Geest, 
one of the Angerstein pictures, painted when the 
artist was only 21. But all the Van Dycks are 
good. 

In Room XV we recede in time and find Jan 
van Eyck with his marvellous Arnolfini group (the 
visitor should take a magnifying glass for the 
Scriptural scenes round the mirror) ; Gerard David 
with very charming and interesting works, one a 
recent Layard Bequest acquisition—“Christ Nailed 
to the Cross’”—showing him as an inspiration to 
Old Brueghel; Old Brueghel himself with the ir- 
reverent “Adoration of the Kings,’ Quinten 
Matsys, Hans Memling, Mabuse, and Dirk Bouts, 
with the moving representation of grief in the “Ein- 
tombment.” A rare painter, Robert Campin (1375- 


LONDON 35 


1444) (known also as the Maitre de Mérode and 
Maitre de Flémalle), is to be found here. The little 
town seen through the window in No. 2609 is an 
urban paradise. 

Rooms XVII and XVIII are Spanish and are 
notable for Velasquez. There is doubt as to whether 
or not the “Admiral Pulido-Pareja” is his, and 
doubts were thrown on the “Venus and Cupid” 
when it was bought in 1906; but the two “Philips,” 
full-length and head, are unmistakable, and the 
magnificent impression of the boar hunt. Accord- 
ing to the little survey of the National Gallery’s 
hundred years of existence, just issued, George 
Lance, the animal painter, restored this great work 
very freely; but it is magnificent none the less. 
Goya’s brilliant portrait of the Dona Isabel Corbo 
de Porcel seems actually to breathe. El Greco’s 
“Agony in the Garden” requires considerable read- 
justment of vision after the pictures we have been 
looking at, and is an argument for the liberal use 
of screens for isolation purposes; but its exciting 
vivacity and force cannot be resisted. Lastly, I 
must mention the serene distinction of the anony- 
mous “St. Paul reading,” which has a curious re- 
semblance to Whistler’s portrait of his mother. 

In Room XIX we find the few German pictures 
that the National Gallery possesses, in particular 
Holbein’s “Duchess of Milan” and the “Ambassa- 
dors.” Diirer’s portrait of his father is attractive, 
and there is some elaborate work by the Master of 
Liesborn, and an amusing group called “Charity”’ 


86 A WANDERER AMONG PICTURES 


by Cranach, with one of the earliest dolls in art in 
the little girl’s hand. 

Room XX is French from primitive times to 
Claude and Nicolas Poussin. Among the anony- 
mous pictures a putative portrait of Mary Queen 
of Scots is interesting. There is no Poussin as 
splendid as his copy now in Room VII, but the 
distance in No. 40 is a dream of delight. ‘The 
Claudes are lovely, the most desirable being the 
“Hagar,” No. 61, which Sir George Beaumont 
found he could not part with in 1826, when he gave 
the National Gallery his other pictures, and so kept 
it till his death. ‘This was one of the first real 
pictures that Constable, then a young miller in 
Suffolk, ever saw and copied. 

Room XXTI is French, old and new, with some 
of Mr. Driicker’s Dutch gifts added. Corot is 
represented at both ends of his long career; and 
styles as different as those of Chardin and Manet 
may be compared. The little blue pastel by Per- 
ronneau always has its admirers, and the Greuze 
heads provide their punctual sweetness. 

Room XXII is British and is dominated by 
Constable, who, although his canvases are small, 
fills the place with weather. This artist’s No. 1819 
and No. 1822, more than “The Hay Wain” in the 
next room, illustrate his influence on French art, 
which began with the exhibition of “The Hay 
Wain” at the Louvre in 1824. Old Crome’s “Wind- 
mill” and Cotman’s “Wherries on the Yare” must 
not be overlooked. David Cox’s “Windy Day” is 


UOPuUoT ‘haz DH 1DL 


STELLA, ‘dOHS S HHALNAdHYVO AHL 


é 








THE LAUGHING CAVALIER. Frans Hals 
Wallace Collection, London 


LONDON 37 


superb and Bonington’s “Scene in Normandy” has 
a calm perfection. 'Turner’s oil sketches are like 
legerdemain. Among the more modern paintings 
are Alfred Stevens’ Mrs. Collmann, Millais’ 
Gladstone, Mr. Sargent’s Lord _ Ribblesdale, 
Whistler’s lovely Blue and Silver Nocturne of the 
river, Frith’s “Derby Day” (which is always the 
most popular picture in the whole Gallery), and 
Dyce’s “Pegwell Bay,” that far finer achievement. 

In Room XXIV we find British landscape art at 
its best, for here are many Constables, Turner’s 
“Frosty Morning,” “Crossing the Brook,” and 
“The Fighting ‘Téméraire,” and Old Crome’s 
“Mousehold Heath,” “The Poringland Oak,” and 
“Moonrise on the Yare.”’ A few portraits are here 
also, including a new family group by Zoffany, but 
it is its majestic landscapes that make the room 
memorable. 

Room XXV is the great British portrait saloon, 
where Reynolds and Gainsborough are the presid- 
ing geniuses, with Hogarth’s “Shrimp Girl” to 
prove that British genius did not begin with them. 
But the most popular picture is Romney’s “Lady 
and Child.” Personally I go first to the tender 
golden Wilsons, and particularly to the little scene 
called “On the Wye.” 

Room XXVI for a year has been dedicated 
chiefly to the brush of Mr. Sargent, whose Werthei- 
mer portraits seem to me to grow more and more 
remarkable. My favourite is that of the young 
man in the laboratory. In this room is a perfect 


38 A WANDERER AMONG PICTURES 


example of George Stubbs, the animal (and land- 
scape) painter, and Gainsborough and Constable 
may be compared—but surely the Gainsborough is 
wrongly described? Dedham has no spire. The 
very tiny Constable is notable for its mileage. 

Room X XVII normally belongs to the Italian 
masters of the decline—Guido Reni, Sassoferrato, 
Carlo Dolci (with a very popular Madonna and 
Child), and the woman painter, Sofonisba Anguis- 
ciola, who afterwards became blind and whom Van 
Dyck visited, in her extreme old age, when he was 
in Sicily in 1624, saying that he learnt more of 
the principles of art from her conversation than 
from that of any other artist. In 1924, however, 
this room was temporarily re-hung with some of 
the Gallery’s earliest possessions. 

Room XXVIII is given to Turner. A change- 
able selection of whose water-colours and unfinished 
oils is always here, together with the two pictures 
which he bequeathed to the nation on the condition 
that they should hang next the two Claudes, which 
they challenge. When one is alone with a beautiful 
Claude one is convinced that nothing could be more 
lovely; but I should put Turner’s “Sun nising 
through Vapour” among the first masterpieces of 
loveliness in the world. 

With Room X XIX (you see how disorderly is 
the sequence) we return to Italian art at its ma- 
turest, and find Michelangelo, with the two tem- 
pera pictures that were to have been so wonder- 
ful; Correggio with his “Mercury instructing Cupid 


LONDON 39 


before Venus,” that brilliant achievement; Ra- 
phael, ranging from the little “Vision of a Knight,” 
like a jewel (with its accompanying drawing), and 
the gay “Procession to Calvary,” to the tender 
Garvagh Madonna; Bronzino, with his dashing AI- 
legory, which so badly needs some of Correggio’s 
power over chiaroscuro; Andrea’s “Young Sculp- 
tor,” so rich and melancholy; Botticelli’s “Mars 
and Venus,” all restrained and temperate, so dif- 
‘ferent from the glowing ecstasy of Piero di Cosi- 
mo’s “Death of Procris,” which occupies the corre- 
sponding position on the other side, and lastly the 
Filippino Lippi Madonna and Child with St. 
Jerome and St. Dominic, that perfect example of 
an altar-piece. 

Finally we come to the Central Dome and its 
dependencies—Rooms IV, VIII, XI, and XVI— 
where large altar-pieces congregate. Of these the 
finest is the Madonna which Raphael painted for 
the Ansidei and which was set up in the Servite 
Church in Perugia in 1506. It was bought from 
the Duke of Marlborough in 1885 for the highest 
sum then ever paid for a single picture. Other nota- 
ble works in these rooms are the Crivellis, so full 
of amusing detail; the very lovely and very early 
“Coronation of the Virgin,” by Taddeo Gaddi, 
with the exquisite flowered robes; the very early 
Orcagna; the Botticini “Assumption of the Vir- 
gin,” with the lilies springing from the tomb and 
a recognisable Florence in the distance; and altar- 
pieces by Luca Signorelli, Francia, and Cima. 


99 


40 A WANDERER AMONG PICTURES 


That list, which every one will like to extend, is 
interesting for two reasons, For one, it illustrates 
the range of the collection; for the other, it shows 
how much has been done with small resources, since 
out of the large number of works which I have 
named for their excellence alone less than one-tenth 
are the result of individual generosity or bequest. 
All the rest have had to be bought. 

The Director, Sir Charles Holmes, to whom the 
present admirable arrangement of the pictures is 
due, is himself a landscape painter of genius, 


Cuapter IIIT: LONDON 


AY 


$ 





Cuaprter IIT 
LONDON 
The Tate, The Wallace, and Other Collections 
| THE TATE GALLERY 


HE Tate Gallery—or more properly the Na- 

tional Gallery, Millbank—is the building in 
which the work of British artists is preserved, al- 
though latterly some modern and recent foreign 
works have been added, and more are to follow. 
Its history is one with that of the National Gallery 
in Trafalgar Square. In 1890, however, the late 
Sir Henry Tate, the sugar magnate, offered to 
build a gallery to take his own collection of Vic- 
torian pictures, and to be large enough for the 
British pictures belonging to the National Gallery 
too. This offer being gratefully accepted, the Na- 
tional Gallery was divided into two, one half, which 
we have seen, with its comprehensive representation 
of all painters, in Trafalgar Square, and the other 
half, purely British, at Millbank. The building 
was opened in 1897. Since then new rooms for the 
Turner pictures have been added, the gift of the 
late Sir Joseph Duveen, the art dealer, and other 


extensions are promised, including a room, the gift 
: 43 


44 A WANDERER AMONG PICTURES 


of the present Sir Joseph Duveen, in which Mr. 
Sargent’s work is to be assembled, and another for 
the reception of such modern Continental masters 
as Cézanne, Van Gogh and Matisse, the main pro- 
vision for which is a fund inaugurated by Mr. — 
Courtauld. 

The Tate Gallery contains the works of the 
British School moved from Trafalgar Square, the 
bulk of the pictures in the Turner Bequest, Sir 
Henry Tate’s own sixty-five pictures, and the pic- 
tures acquired every year by the Royal Academy 
under the terms of the Chantrey Bequest. This 
consisted of a sum of money left by the sculptor, 
Sir Francis Chantrey, to the Royal Academy, the 
interest of which was to be devoted to the encour- 
agement of British art, by purchasing every year, 
or at longer intervals, not more than five works of 
art “of the highest merit” executed by British 
artists, dead or living, who had done the work en- 
tirely in Great Britain. The will was made in 
1840, but the Fund did not become operative until 
after Lady Chantrey’s death in 1875, when it con- 
sisted of £105,000 in 8 per cent consols. 

Gifts and loans to the Tate are also constant. 
In fact, such success has Mr. Aitken, the Director, 
in persuading connoisseurs to lend or give their 
treasures, and so catholic is he in his sympathies, 
that picture-lovers are wise to visit the Tate every 
week. Something new and arresting will always 
be found. 


LADY WITH A FAN. Velasquez 
Wallace Collection, London 








NELLY O'BRIEN. Reynolds 
Wallace Collection, London 





THE HOLY FAMILY. Leonardo da Vinci 
Diploma Gallery, Burlington House, London 





GIRL AT A WINDow. Rembrandt 
Dulwich Gallery, London 


LONDON 45 


We will follow the numerical order of the rooms, 
even though they have little artistic sequence. 

No. I contains British portraits and subject pic- 
tures of the great period. Here is Hogarth with 
the “Marriage 4 la Mode” series, the Beggar’s 
Opera scene, the tragic Sophonisba, where he paints 
too like other people and without his own exquisite 
touch, and various portraits. Reynolds and Gains- 
borough are both here, in all their moods: Reynolds 
ranging from the massive Admiral Keppel to the 
Infant Samuel, from the demure little Robinetta 
to the Great Lexicographer. Gainsborough has a 
large sombre landscape as well as the rapt “Parish 
Clerk” and the “Musidora Bathing.” Romney 
and Raeburn have typical portraits, and there is a 
brilliant Benjamin West by Gilbert Stuart, a mas- 
ter of radiance. Light of a more golden lambency 
irradiates the Richard Wilsons, of which No. 2647 
is my favourite. Popular pictures are the two 
pretty laundry-maids by George Morland’s father, 
and George himself is here with his comfortable 
fleecy brush. 

The little Room II is devoted to the mystical 
genius of William Blake. Loan pictures are often 
added to those which the Gallery possesses. Stot- 
hard’s “Canterbury Pilgrims” also hangs here—a 
picture painted, like Hogarth’s “Marriage a la 
Mode,” solely for the engraver to work upon, but 
very warm in colour. 

Room IIT at the time of writing (Spring 1924) 
is given up to the collection of modern Continental 


46 A WANDERER AMONG PICTURES 


pictures formed by Mr. William Burrell. It is 
notable for its many works by Matthew Maris and 
James Maris, its Daumiers, Degas’, and Boudins. 
I think that Boudin, “The King of Skies,” as Corot 
called him, is almost the hero of the room. A rare 
French painter named Ribot should excite curiosity. 
Normally this room contains British landscape, and 
in particular Constable’s. London is indeed very 
rich in the work of this great pioneer, for we saw 
twenty and more of his pictures in Trafalgar 
Square; there are twenty and more here; and at 
South Kensington we shall find two rooms entirely 
his. It is interesting to see how French some of 
his Tate pictures are. David Cox and Bonington 
are also here. — 

Room IV is the Pre-Raphaelite room, notable for 
its work by that group of English painters who, in 
revolt against the free and easy ways into which 
their predecessors and contemporaries had fallen, 
devoted themselves, in the middle of the nineteenth 
century, chiefly under the stimulus of Holman 
Hunt, to the effort (in Millais’ own words) “to 
present on canvas what they saw in Nature,” and 
to do so with remorseless fidelity. If one would 
realise the kind of painting they were trying to 
supersede one must go to the Sheepshanks rooms 
at South Kensington. The kind of painting that 
superseded the Pre-Raphaelite methods can be 
studied at the Tate. 

The principal picture in Room IV is Millais’ 
“Carpenter’s Shop,” recently acquired, and it is 


LONDON AT 


also one of the Brotherhood’s finest achievements. 
Why it should have aroused such a storm of indig- 
nation when it was first exhibited in 1850, it is 
difficult now to understand. Butit did. The draw- 
ing for it, on a screen, should be examined too, 
as the painter’s differing schemes of composition 
are worth comparing. 

The tendency of the secondary artists of this 
School was to put narrative before tone and com- 
position; but the greater exponents are not to be 
gainsaid. Madox Brown should be sought for, and 
William Dyce, although his “Pegwell Bay,” which 
we saw in Trafalgar Square, is finer than anything 
here. ‘The broad sure touch of Alfred Stevens, 
especially in No. 2132, makes most of the neigh- 
bouring work look niggardly. A breezy landscape 
by Sam Bough is a welcome surprise. 

In Room V we find the most fascinating person- 
ality of the School—Dante Gabriel Rossetti. And 
here are several works, finished and unfinished, 
wistful and lovely, from the hand of Burne-Jones. 

Passing to Room VI we find ourselves in the 
presence of a Titan of the brush—Joseph Mallord 
William Turner. No one can walk through this 
and the next rooms without awe and reverence for 
the glory and magnificence of human power. In 
Room VI are the finished works, and in Room VII 
the even more beautiful, if not nobler, unfinished. 
And then there are two rooms of water-colours; and 
downstairs a room of his etchings and sepia draw- 
ings of or from them, constituting a part of the 


48 A WANDERER AMONG PICTURES 


Liber Studiorum; and in the passages there are 
more paintings, each one of which, if isolated, would 
make its home notable, if not actually a place of 
pilgrimage. No artist in the world was so steadily 
and unwearyingly and copiously productive as 
Turner, not even Rubens. 

In Room VI one may see Turner when he was 
experimenting in the manner of his rivals, of whom 
he was often jealous. We have already, in Trafal- 
gar Square, been able to study the canvases with 
which he challenges the Claudes. Here one may 
see him proving that Old Crome was not the only 
man who could bathe English scenery in gold— 
see Nos. 467 and 526. 

The most beautiful picture in Room VII is the 
“Evening Star,’ No. 1991. It is called “unfin- 
ished,” but who would have another touch added? 
Look also at Nos. 2064, 2065, 560, 1986, 559, 2678 
and 1989. 

Room VIII is given to foreign paintings, of 
which almost every one is interesting. Boudin 
again scores. Degas has both portraits and his 
sand, sea, and sky decoration. Gauguin (whose 
work is rare in England) has a Tahiti frieze, with 
his favourite vermilion strong in it. In a more 
classic manner is the Mere at Evening by Rousseau, 
where essential peace broods. 

I omit the basement rooms because they are too 
subject to change, and we resume the tour of the 
gallery with Room XV. Here we find the old 
Royal Academy favourites of the not too remote 


LONDON 49 


past, such as Frank Dicksee’s “Harmony,” Leigh- 
ton’s “Bath of Psyche,” Luke Fildes’ “The Doc- 
tor,’ and Millais’ “Yeoman of the Guard” and 
“The North-West Passage,’ the navigator in 
which was painted from E. J. Trelawny, the friend 
of Byron and Shelley. On screens are Max Beer- 
bohm’s ruthless caricatures of the Pre-Raphaelite 
Brothers at home. 

Room XVI is the big sculpture gallery where 
Augustus John’s vast Donegal cartoon hangs, to- 
gether with other examples of his dashing handi- 
work from earliest times, and certain foreign pic- 
tures bought with the Courtauld fund. At the time 
of writing these are by Degas, Manet, and Van 
Gogh, but re-hanging is imminent. 

Room XVII is wholly devoted to the work of 
G. F. Watts, and many pictures familiar in photo- 
gravure all the world over will be found here in the 
original. 

Room XVIII is given to that great and varied 
genius, Alfred Stevens, specimens of whose superb 
work as draughtsman, painter, architect, and sculp- 
tor may be seen here. Stevens was born at Bland- 
ford in Dorset in 1817, and as a young man studied 
painting and architecture in Rome and Florence, 
and acted as assistant to the Danish sculptor Thor- 
waldsen. He returned to England at the age of 
twenty-five and entered upon a career as a designer, 
chiefly of metal work. His greatest feat, which 
occupied nearly twenty years of constant labour, 
was the tomb of Wellington in St. Paul’s, which 


50 A WANDERER AMONG PICTURES 


was to be surmounted by the equestrian figure, a 
cast of which is in the middle of this room. To 
Stevens’ intense disappointment the Dean forbade 
any equine intrusion into the House of God, and the 
artist died almost broken-hearted im consequence. 
That was in 1875. ‘Thirty-six years later, however, 
under an ecclesiastical dignitary free from hippo- 
phobia, the tomb was completed by John Tweed 
according to the artist’s original plan. ‘The circum- 
stance that Belgium also had an Alfred Stevens, a 
painter of delicate interiors, has led to much con- 
fusion. Our Alfred Stevens painted only portraits 
—some of which are among the glories of the Tate 
and one of which, of Mrs. Collmann, we saw and 
admired at the National Gallery—and large mural 
decorations. 

Room XIX has recent Royal Academy work 
bought under the terms of the Chantrey Bequest, 
and a few earlier pictures. Cecil Lawson’s great 
“Harvest Moon”’ is here, and Frederick Walker’s 
“Harbour of Refuge.” Among the best work is 
that by Sargent, Orchardson and Flora M. Lion. 

In Room XX we find water colours, among the 
masters to be studied being Miller, Walker again, 
Pinwell, J. M. Swan and Brabazon. 

In Room XXI some of the strongest and most 
rebellious of the British artists of to-day confront 
us. If there is anything much more different from 
the kind of painting that Sir Henry Tate rejoiced 
in, tt would be hard to find. The dominating figure 
of the room is Augustus John, whose “Smiling 


LONDON 51 


Woman” is the principal picture here. Her smile 
perhaps comes from listening to the divisions of 
opinion which her uncompromising directness pro- 
vokes. Personally I think of her as a masterpiece. 
Look also at the unfinished sketch from the same 
sure hand called “Rachel,” and also at the small 
boy’s head—“Robin’”’—so easy and alive. Other 
pictures—and many of them less likely to lead to 
contentiousness—that should be sought for are 
“Miss Jekyll” and a brilliant still-life by William 
Nicholson; Wilson Steer’s landscapes; Whistler’s 
“Old Battersea Bridge,” that lovely, lovely thing; 
and everything by Sir Charles Holmes, Henry 
Tonks, Sir William Orpen, Sir David (D. Y.) 
Cameron, J. D. Innes and Ambrose McEvoy. The 
curious portrait of Lytton Strachey by Henry 
Lamb will not soon be forgotten. 

In Room XXII are picked water-colours by con- 
temporaries. Look for Sargent, Orpen, McEvoy, 
John Wheatley, J. D. Innes, Brabazon and A. W. 
Rich (who is the artist depicted in Orpen’s 
“Model’’). 

Room XXIII is sculpture. 

Room XXIV contains more Chantrey pictures, 
and the great Herkomer group of the Selection 
Committee of the Royal Academy in 1908—of 
whom how few remain! Works by many of them, 
however, hang somewhere in this Gallery, while 
Mr. Sargent has something in the very room in 
which his commanding form is depicted. Other 
painters to look for are Arnesby Brown, Brang- 


52 A WANDERER AMONG PICTURES 


wyn, D. Y. Cameron, W. W. Russell, Oliver Hall, 
Charles Sims, Orpen and Augustus John. 

Upstairs are miscellaneous works, paintings, 
water-colours and many drawings, including re- 
markable examples of the genius of Muirhead 
Bone. 

Let me, as we leave the Tate, repeat what I said 
as we entered it—that loans and new additions are 
so constant that the picture-lover should make vis- 
iting it a habit. 


THE WALLACE COLLECTION AT HERTFORD HOUSE 


The interest—apart from that of its supreme 
value—of the Wallace Collection, which comprises 
furniture, armour and articles of virtu as well as 
pictures, is that it is mainly the choice of one man, 
the fourth Marquis of Hertford (1800-70), al- 
though a certain number of works of art were 
added by his heir, Sir Richard Wallace (1818-90), 
whose taste was similar. 

The Marquis of Hertford, as a collector, laid 
down the maxim that he would acquire “only pleas- 
ing pictures.” However fine a painting might be 
technically, if he did not lke it—or, in the old 
phrase, if it did not like him—he would not buy it. 
We see very quickly how fond he was of Murillo, 
Greuze, Boucher, Bonington, Delacroix and Meis- 
sonier. Perhaps it is fortunate that he put so much 
faith in his agent Mawson, for some of the greater 
masterpieces were acquired by his assistance, such 
as the Velasquezes and Rembrandts. 





Photo Giraudon 


LE BAIN TuRC. Ingres 
Louvre, Paris 


Photo Neurdein 


LA JOCONDE—MONNA LISA Leonardo da 
Louvre, Paris 





LONDON 53 


Let me begin by saying that the catalogue of 
the Wallace Collection is the best catalogue that I 
know. 

The first room on the first floor is No. XII, where 
the Canalettos and Guardis hang. The best Cana- 
letto is the view of the Grand Canal with S. Simeone 
Piccolo, all gravity and sparkle. The most ex- 
quisite of the Guardis are No. 494, “The Custom 
House,” and No. 5038, “The Rialto.” 

In Room XIII we come to Holland and find the 
customary embarrassment of riches. Van Huysum 
is here with his flowers and miraculous dewdrops; 
Ruisdael, with a village and landscape; Rem- 
brandt, with a head of a boy, small but great; Hob- 
bema (who never fails), with a water mill; Cuyp, 
with two horsemen at a tavern; Paul Potter, with 
an almost uncomfortably real landscape with cattle. 
And here are two painters less often met with and 
both fine: Wilhem Drost, with a portrait of a 
young woman, and Joannes Van Noordt, with a 
pretty boy and a hawk. But I am not sure that 
Netscher’s “Lace-Maker’’ is not the real gem of the 
room. 

Room XIV is also Dutch, and here perhaps the 
Terburg “Lady reading a Letter” is the master- 
piece. Other painters to look for are Cuyp, with 
an “Avenue,” a little in the manner of the famous 
Hobbema at the National Gallery; the trustworthy 
Wouwerman, No. 218; Jan van der Heyden, No. 
225; Rembrandt, whose landscape recalls the work 
of his friend Seghers; and Maes, with a rich in- 


54 A WANDERER AMONG PICTURES 


terior. Look for the Jan Steens, each with some- 
thing exquisite in it (such as the lovely blue and 
yellow and grey of No. 150) ; the Brouwer, without 
any of his favourite colours; and lastly the “Woman 
Cooking,” by a very rare painter, Esaias (or L.) 
Boursse, who shared the peculiarity common to 
most Dutch painters, of being able to paint as well 
as any other Dutch painter in his own line. 

In Room XV we find those contemporary French 
artists in whom Lord Hertford so much delighted, 
together with the works of that Englishman who 
gave more than one of these—and in particular 
Delacroix—their impulse: Richard Parkes Boning- 
ton. The accomplishment of Bonington could not 
be better illustrated than here. My own favourites 
are Nos. 273, 340, and 851. In No. 862 he seems 
to combine Constable with the Turner of the 
“Frosty Morning” at the National Gallery. The 
other English painter here is Lawrence, in No. 41 
very like Raeburn, but in No. 558 himself abso- 
lutely. Rousseau’s great landscape is more authen- 
tic than Corot’s. That fine draughtsman Prud’hon, 
so seldom seen in England, is here, and another 
French painter and colourist also rare in atlas 
may be admired too—Couture. 

We now enter the big room, No. XVI, where the 
chief treasures are to be found. On the right we 
find the two Rembrandt groups, Susanne van 
Collen with her daughter, and Jean Pellicorne (her 
husband) with his son: two of the finest portrait 
groups in existence. Between them are a Cuyp 


LONDON a0 


and a Hobbema. There is a charming Dutch girl 
by Mierevelt, a Velasquez (or perhaps it is by Del 
Mazo, his son-in-law), Reynolds’ stately Mrs. Car- 
nac, and then the famous Rembrandt, “The Un- 
merciful Servant,” with its wonderful light and 
shade and drama. Perhaps the picture that comes 
next is the most popular of all, Frans Hals’ 
“Laughing Cavalier’; but I have always thought 
the title a misnomer, for it is rather a sneer than a 
laugh. In all the pictures by Hals that we are 
going to see, none is more carefully painted or 
subtly finished than this. Two Van Dycks on this 
wall should be taken together: the glorious full- 
lengths of Philippe le Roy and his beautiful wife. 
Between them is the melancholy unforgettable 
“Lady with a Fan” by Velasquez; another Hob- 
bema; Reynolds’ little Miss Bowles with her dog; 
and one of the best of Rembrandt’s many portraits 
of his son Titus. A little farther on is another fine 
Reynolds, “Mrs. Nesbit with a Dove,” and near it 
one of Rubens’ “rainbow” landscapes, with half of 
Flanders in the distance, and one of Peter de 
Hooch’s sublimated interiors. After a perfect 
Cuyp, No. 138, a Claude, all hush and beauty, No. 
114, and a dashing Jordaens, miscalled Rubens, 
we come to some genuine Rubens sketches, which 
_ pave the way to his masterpieces on the fourth wall 
—the “Holy Family” and “Christ’s Charge to St. 
Peter,” where he is more vivid and brilliant almost 
than in any work by him that, as we move through 
the Galleries of Europe, we are going to see—and 


56 A WANDERER AMONG PICTURES 


we shall see a thousand at least. The other notable 
works on this wall are the two Velasquezes—Don 
Balthazar Carlos as a stocky but important child, 
and Don Balthazar Carlos, a little older, on a 
prancing pony—a magnificent thing; the two 
Reynolds: the charming Mrs. Richard Hoare with 
her infant son, and the even more charming and 
masterly Nelly O’Brien with her infant poodle; 
and, finally, the very popular little Miss Haverfield 
by Reynolds’ great rival, Gainsborough. 

In Room XVII we find a few Italian Old Mas- 
ters, the two favourite pictures being the very fine 
Andrea del Sarto, one of his best works, and the 
benignly sweet Luini, “The Virgin of the Colum- 
bine.” The fresco of the little boy reading, by 
Foppa, is delightful, and there is a very Spanish 
and very maternal Madonna by Murillo. The al- 
legory by Pourbus is perhaps not worth elucidation, 
but its northern hardness is an interesting contrast 
to the Italians. A good Bronzino portrait also 
hangs here. 

In Room XVIII we come to the Féte Champé- 
tre school which Lord Hertford so greatly fancied, 
Watteau, Lancret, Pater and Boucher all being 
here. 'The fore-shortening of the sleeping shep- 
herdess in No. 385 is terrific. Here also is Greuze, 
with some typical sugary innocents, the delicious 
Fragonard in some of his best moods, and Madame 
Vigée le Brun with a merry boy in red. 

In Room XLX we find Boucher again. In Room 
XX a French painter rare in England is found: 


LONDON 57 


Louis Leopold Boilly (1761-1845), who was some- 
thing of a Hogarth and something of a Frith and 
is very valuable to historical students of his time. 
Beside him hangs a George Morland, with a kin- 
dred subject but a more voluptuous treatment. The 
“Hunt Breakfast” by Jean Francois de Troy is 
very animated. 

Between Rooms XX and XXII is a selection of 
water-colours by Bonington, both landscape and 
historical groups, and again one marvels at the per- 
fection and range of this hand—stilled at the age 
of twenty-seven. 

The principal pictures in Room XXI are two 
portraits by Cornelis de Vos, and in the Rotunda 
adjoining it, the Greuzes. 

Downstairs there are few pictures, but the famous 
beauty, “Perdita” Robinson, may be compared in 
the treatment she received from the rival brushes 
of Reynolds and Romney, and here and there are 
some attractive Nattiers and other French por- 
traits. A little Landseer and a little Clarkson 
Stanfield indicate how much better these minor 
masters could paint than many of their contem- 
poraries. 

On the top floor are many water-colours, 


SOUTH KENSINGTON 
We think of the Victoria and Albert Museum at 
South Kensington primarily as a treasure house of 
applied and plastic art. But it has its pictures too, 
and the most valuable of them—aindeed they are be- 


58 A WANDERER AMONG PICTURES 


yond all price—are seven of the original cartoons 
by Raphael which were made for reproduction in 
tapestry for the Sistine Chapel. ‘The tapestries 
now hang in the Vatican. ‘There were ten in all, 
depicting scenes from the Acts of the Apostles, 
but three have been lost. ‘The seven at South Ken- 
sington are the property of the King. ‘The master 
was undoubtedly helped by pupils, but the designs 
are his. The liveliness and splendour of these great 
illustrations are equally remarkable. I think that 
my own favourite is the “Miraculous Draught of 
Fishes,” with its pleasant lake landscape. 

South Kensington is next noteworthy for its 
unique collection of British water-colours, which 
are arranged in a series of rooms in chronological 
order so as to give rapidly an idea of the develop- 
ment of water-colour art in England: beginning 
with the Sandby brothers and Edwin Dayes, who 
were topographical draughtsmen first and artists 
second, to the great early masters, J. R. Cozens, 
Turner and Girtin; and thence to Bonington, Cot- 
man, Peter de Wint, on to Tom Collier, EK. M. 
Wimperis, and so to our own day and the work of 
Brabazon, Sir D. Y. Cameron, D. S. MacColl, 
T. L. Shoosmith, and Wilson Steer. 

The student will make the same discovery with 
regard to British water-colour painting that I have 
mentioned with regard to Dutch painting of the 
seventeenth century, and that is the surprisingly 
large number of executants who were capable of 
very nearly first-class work, Again and again in 


LONDON 59 


these South Kensington rooms one is called to a 
halt by a remarkable work by an unknown man. 

After the water-colours the most valuable pos- 
session of the museum in the domain of painting is 
the collection of Constable’s work, chiefly given or 
bequeathed by the painter’s daughter Isabel. But 
for Constable’s inability to sell his pictures during 
his lifetime (one of the mysteries of the universe) 
this collection could not be what it is. Here you 
may see him in every stage of his career, and there 
was hardly a moment in it when he was not in- 
spired, and never a moment when he was not either 
actually or mentally recording the beauty of the 
visible world. With memories of “The Hay Wain” 
at the National Gallery still in our minds, it is 
interesting to find here the amazing first version of 
it, where paint really does convey not only the 
sights of summer but its sounds and even its move- 
ment. The main Constable room is No. XCIX. 
A. second room—a section of No. CI1V—leading 
from it contains a selection of his water-colours. 

From the Constable room we gain the rooms— 
XCVIII and XCVII—where the Sheepshanks 
collection is placed. John Sheepshanks was a wool 
merchant who lived in the first half of the nineteenth 
century and bought the work of his contemporaries 
—the principal R.A.’s of that time. His favourites 
were Landseer, C. R. Leslie, and Clarkson Stan- 
field, who are strongly represented here. But every 
early Victorian painter of domestic interest is to 
be found too. 


60 A WANDERER AMONG PICTURES 


The best pictures in Room XCVIII are, how- 
ever, the Turners—showing the giant in his more 
conventional moods, but very beautiful—and a 
series of oil landscapes by Peter de Wint, one of 
which, “A Cornfield,” is a really great achieve- 
ment. In Room XCVII we find two admirable 
portraits by Raeburn: Mr. and Mrs. Hobson of 
Markfield; and a “Shepherd Watching his Sheep” 
on Mousehold Heath by Old Crome—a curious 
colour scheme that haunts the eye long after one 
leaves. 

Room XCVI is miscellaneous and is notable for 
its Wilsons; a very attractive view of the Thames 
by Paul Sanby, in oils; and portraits of royal and 
other beauties by Gainsborough, Reynolds, and 
Lawrence. A tiny study of trees by William 
Hunt should be looked for: No. 440. 

The next room—XCV—has miscellaneous wa- 
ter-colours, including work by Boudin, Josef 
Israels, Bosboom, and Mol. 

Three or four collectors of pictures left their 
possessions to the Museum, the most notable being 
John Forster, the biographer of Dickens; the Rev. 
Alexander Dyce, the scholar, and Forster’s great 
friend; and Constantine Ionides, a Greek resident 
in England. Forster’s best, or most interesting, 
pictures—in Room LXXXIII—are Northcote’s 
portrait of Sir Joshua, a lady by Sir Joshua him- 
self, a pretty Greuze, many drawings by Thackeray 
and Maclise, Thomas Carlyle by G. F. Watts, 
Charles Dickens by W. P. Frith, and still another 


LONDON 61 


version (there are two at the National Gallery) of 
Gainsborough’s two little girls, from their father’s 
hand. Among Dyce’s pictures—in Room LX X XT 
—are water-colours by Rowlandson and J. R. 
Cozens, and oils by Romney (the “Serena’), Gil- 
bert Stuart (a portrait of Henderson the Actor), 
Cornelius Janssens (the portrait of John Donne), 
by Richard Wilson and Samuel Scott. 

The Ionides Collection fills three rooms, of which 
No. XCIITI has original drawings, chiefly by Dau- 
mier and Legros, and Rembrandt etchings; and 
No. XCI a number of portraits of the Ionides fam- 
ily by G. F. Watts, together with examples of 
Rossetti and Burne-Jones. The most interesting 
room is No. XCII, which comes between these and 
has the miscellaneous foreign work. It is strongest 
mm the Frenchmen of the last century—Millet, 
Ingres, Courbet—but is modern enough to include 
Degas. Among the masterpieces is a landscape by 
Koninck; and the rarer works comprise two Le 
Nains. A set of studies of cattle by Paul Potter 
should be looked for; and there is an interesting 
view of Geneva by Bonington, with the lake seen 
through an arch, a picture within a picture. 

Elsewhere, on stairs and landings in the neigh- 
bourhood of the very important Art Library, which 
any one may visit, are designs by Burne-Jones. 
Note especially that lovely one for the Roman de 
la Rose. An early Millais—done when he was only 
fifteen or sixteen—should be sought as a curiosity. 


62 A WANDERER AMONG PICTURES 


THE BRITISH MUSEUM 


In the gallery attached to the Print Room of the 
British Museum there is always an exhibition of re- 
cent acquisitions, and other drawings or engravings 
of value, while visitors are permitted to study at 
the desks whatever original work they may desire 
—provided that they have first obtained a ticket. 
There is also a permanent exhibition of Chinese 
painting; and the Japanese prints are frequently 
changed. 


THE NATIONAL PORTRAIT GALLERY 


The National Portrait Gallery, although pri- 
marily a gallery of portraits chosen for the impor- 
tance of their subject rather than their treatment, 
contains some magnificent work, from early Tudor 
times, through Van Dyck, Lely, Kneller, and Ho- 
garth, down to Reynolds and Gainsborough, Law- 
rence and Raeburn; and so to such recent master- 
pieces as Sargent’s Coventry Patmore and Henry 
James. No one should miss Bastien Lepage’s 
Henry Irving. 


BURLINGTON HOUSE 


I have referred more than once to the Diploma 
Gallery at the top of Burlington House. Two 
treasures make a visit imperative: the cartoon by 
Leonardo da Vinci and the marble relief of the 
Madonna and Child by Michelangelo. It also has 
the diploma pictures which all R. A.s have to paint 


LONDON 63 


as a votive offering to the Academy, and some of 
these are very interesting. Among the presenta- 
tions that have been made to the Gallery is the fa- 
mous “Leaping Horse” by Constable. 


THE DULWICH GALLERY 


The Dulwich Gallery houses a curiously mixed 
collection of pictures, with two or three of outstand- 
ing merit. ‘The earliest pictures were brought to- 
gether by Edward Alleyn, the actor and theatrical 
manager, who founded Dulwich College and died 
in 1626, They are chiefly portraits and are negligi- 
ble as art. Then came William Cartwright, actor 
and bookseller, and he also gave or bequeathed por- 
traits. The next collector was the Frenchman 
named Desenfans, of whom I have already said 
something in connexion with the National Gallery. 
Not being able to sell the pictures which he had 
bought for the King of Poland before his abdica- 
tion, but had not delivered, he bequeathed them to 
his friend Sir Peter Francis Bourgeois, R.A., who 
added to them, restored them, and in his turn be- 
queathed them to Dulwich College. The remains 
of Bourgeois, Desenfans and Mrs. Desenfans lie 
in the mausoleum attached to the Gallery. It was 
in the eighteen-thirties that the Gainsboroughs 
were added, through the association of the Rev. 
Ozias Thurston Linley, as organist to the college. 

The jewels of the Dulwich Gallery are the “Girl 
at a Window” by Rembrandt and “Philip IV” by 
Velasquez. After these, taking the excellent cata- 


64 A WANDERER AMONG PICTURES 


logue in numerical order, look at the Weenix 
“Landscape with Figures,” No. 47, the figures be- 
ing possibly the work of a different hand; No. 50, 
by Brekelenkam, that interesting pupil of Gerard 
Dou, and through him a derivative of Rembrandt; 
No. 56, a little masterpiece by Gerard Dou him- 
self, close to the beautiful Rembrandt; No. 78, a 
truly excellent example of a painter whom I am 
rather taking for granted all through this book, for 
he is represented in almost every gallery—Philip 
Wouwerman, famous for his battle or bivouac 
pieces, always with a white horse. How many he 
painted, I have no idea: many hundreds if not thou- 
sands; but none is better than this Dulwich work. 
We resume with No. 87, a typical Hobbema; No. 
99, a little living portrait by Rembrandt; No. 114, 
a vivid little landscape by Jan Wynants; No. 156 
by Watteau, and by some writers considered his 
finest work; No. 168, two windmills by Jacob Ruis- 
dael, a favourite with Constable, who copied it; 
No. 170, a Van Dyck portrait; No. 171, a lovely 
Wilson; No. 178, another Van Dyck portrait—“A 
Knight” with woman’s hands; No. 182, another ad- 
mirable Wouwerman; Nos. 186 and 189, dashing 
sketches by Tiepolo; No. 197, a little seascape, 
filled with the light of day, by W. van de Velde; 
No. 199, Murillo’s “Flower Girl,” one of the spe- 
cial treasures of the Gallery; Nos. 205 and 215, 
two silver Claudes; No. 210, a leafy Ruisdael; No. 
216 a Salvator Rosa of an unusual kind, for here 
is a spirited realistic gambling scene, with a soldier 


LONDON 65 


in armour set down by a masterly hand; and No. 
234, the best of the Nicolas Poussins. 

The most popular of the British pictures is the 
portrait of Queen Victoria when she was a quaint 
little figure of four in a hat much too big for her. 
Its value, however, is sentimental rather than ar- 
tistic. The best British pictures as works of art 
are the Gainsboroughs, the Hogarths and the Rey- 
nolds. For the many Gainsboroughs alone this 
gallery must be visited; and the Hogarth “Fishing 
Party” is a gem. 











CuarptTer IV: PARIS 








Photo Neurdein 


LES PELERINS D EMMAUS. Rembrandt 
Louvre, Paris 





Photo Giraudon 


LE BENEDICITE. Chardin 
Louvre, Paris 


CHAPTER IV 
PARIS 
I. The Louvre: Old Masters 


O compare the Louvre as a whole with the Na- 
tional Gallery would be absurd. In order 
to institute any fair comparison one would have to 
take on the one side the Louvre and on the other 
the National Gallery, the Tate Gallery, the Wal- 
lace Collection, the British Museum, and the Vic- 
toria and Albert Museum at South Kensington. It 
must be understood, then, that by the Louvre I 
mean here the rooms in the Louvre that are given 
to painting. 

It is possible to walk through the whole of the 
London National Gallery on a single visit without 
fatigue; although of course not possible, in so 
doing, to be just to the pictures. But it is not 
possible, without extreme fatigue, to do this at the 
Louvre—I refer to its picture rooms only—and no 
one ought to try. The picture rooms at the Louvre 
are so numerous, so varied, so widely divided by 
corridors and stairs, that several visits are essen- 
tial, even by those who like to get their effects 
rapidly. 

69 


70 A WANDERER AMONG PICTURES 


In this chapter I shall refer only to pictures of 
the Old Masters—lItalian, Flemish, Spanish and 
Dutch. 

In the chapter that follows I shall refer to the 
general pictures at the Louvre and to the few 
British works that hang among them. 

A third chapter I shall devote to the other pub- 
lic picture galleries of Paris. 

The Louvre naturally is numerically strongest 
in French painting, as the National Gallery is nu- 
merically strongest in British painting. It has 
finer examples of every French painter than we 
have, just as we have finer examples of our own 
school. Each of us has, however, a certain amount 
of the other’s work, and the Louvre possesses an 
example of Bonington—a full-size portrait of an 
old lady—such as I have never seen in England 
at all. Its Constables are also very interesting, and 
looking at them it is easy to see how great an in- 
fluence both he and Bonington exerted on the sus- 
ceptible young artists who went to the Salon of 
1824 and were captivated by the bold and faithful 
English work there. But for the presence of Con- 
stable (“The Hay Wain’) and Bonington, but 
especially Constable, at that exhibition, all French 
landscape painting since might be very different 
and the Barbizon School might never have arisen. 

In the other scale we may put Claude, who at any 
rate is not surpassed at the Louvre by the two pic- 
tures—the “Marriage of Isaac and Rebecca” and 
the “Embarkation of the Queen of Sheba’—which 


PARIS 71 


Turner selected as perpetual rivals to his own 
genius in the National Gallery. For the rest, it has 
to be admitted that neither the National Gallery 
nor the Louvre gives any adequate representation 
of its neighbour’s art. One or two of our Poussins 
are great, but there is nothing to compare with the 
Louvre’s finest examples. To some extent the de- 
ficiency is made good by the display of the Féte 
Champeétre School in the Wallace Collection, where 
also may be found further examples of Rigaud and 
Champaigne and other of the great French por- 
trait painters. 

The Louvre was not built for a picture gallery, 
but it has been well adapted. One of the advan- 
tages of this lack of scientific structure is that there 
are occasionally windows at which one may rest 
and refresh the vision tried by the exacting task 
of constant refocussing. How pleasant are the 
glimpses of the Tuileries thus gained; of the Arno 
and the hills about Florence, from the Uffizi; of the 
Theatre-Platz and the Elbe at Dresden! Our Na- 
tional Gallery offers none. 

The foundations of the collections of the Louvre 
were laid by Louis XI, who, when in alliance with 
the Medici against Pope Sixtus, became an en- 
thusiast for Italian painting and persuaded artists 
to join his service. His son Charles VIII followed 
in his footsteps, but it remained for Francis I 
(whose portrait by Titian is in the gallery) to pro- 
vide the finest works. He it was who, in addition 
to countless other pictures from Italy, acquired 


72 A WANDERER AMONG PICTURES 


Leonardo’s ‘““Monna Lisa” and gave the old painter. 
a home in the Chateau of Amboise to end his days 
in; he was the employer also of Cellini and of An- 
drea del Sarto, who, the story goes, on returning 
to Italy with funds to purchase more pictures for 
the Royal collection, used the money to build a new 
house. Louis XIV, many years later, had similar 
enthusiasms and bought pictures freely, including 
Mazarin’s collection, so that early in the eighteenth 
century the “Cabinet du Roi” contained more than 
2000 paintings alone, as well as a vast number of 
drawings. One of the acts of the Revolutionists 
was to convert the Louvre into a Musée Nationale, 
which, under Napoleon, reached its highest level, 
for his generals had orders to bring back works of 
art from whatever countries they conquered. Much 
of this loot was restored to its earlier owners, and 
very interesting would be a list of what we might 
see now but for this act of restitution; much re- 
mained in Paris. 

Since Napoleon’s day many valuable bequests of 
large collections have been made, chiefly the La 
Caze collection in 1869, numbering nearly 300 pic- 
tures, among them many Chardins. Single addi- 
tions are frequent. In walking through the rooms 
I always look for the label which states that the 
picture is the gift of the Société des Amis du 
Louvre, that excellent group of enthusiasts who 
have enriched it at every turn. The English Na- 
tional Art-Collections Fund does similar work, 


PARIS 73 


but differs in not confining its benefactions to any 
one gallery. 

The Louvre, which was free until a year or so 
ago, now makes a charge of a franc. This is a 
legacy of the war, which, in part, London inherited 
too. One would like to see all galleries free, ex- 
cept possibly on students’ days, and my own hope 
is that a return to the old generous—or rather just 
—routine may not be long delayed. Not all the 
Louvre, it should be noted, is now open every day; 
a restriction due, I imagine, to the cost of the at- 
tendants. On one day, for example, the little cabi- 
nets containing the small Dutch pictures cannot 
be seen; on another, the Camondo collection; and 
soon. Some rooms, even then, do not open till two. 
It is all very confusing and also disappointing. A 
time-table, it is true, is fixed at the entrance, but 
that is a poor consolation to a visitor in a hurry 
bent upon another sight of Van Eyck’s “Vierge au 
Donateur” or Vermeer’s “Dentelliére” downstairs, 
or Corot’s “Fillette 4 sa Toilette,” or Sisley’s 
“Floods at Marly” on high. Few disappointments 
are more acute than, after making one’s plans to 
see a certain picture, to find it surrounded by barbed 
red-tape. Possibly, however, as the world’s finances — 
improve, all the rooms will be on view again all the 
time and all free. | 

In the old days of the Salon Carré one knew at a 
glance what the Louvre authorities considered to be 
their finest foreign treasures, for they were there; 
but under the new arrangement they are dis- 


74 A WANDERER AMONG PICTURES 


tributed, and the Salon Carré is now the domain 
chiefly of Paolo Veronese. Here is his great “Feast 
in the House of Simon,” so spacious and cool and 
unreligious, with the girl peeping round the pillar 
at the right to give it a realistic touch; here is his 
so unlikely treatment of the disciples at Emmaus 
(how different from the Rembrandt we are coming 
to, in one of the little rooms!) with the charming 
group of children with a dog in the foreground. 
Here also is Titian’s ‘““Entombment,” so fine in ar- 
rangement and colour, and Titian’s “Antiope,” 
which might easily be divided into two pictures, 
hanging near Correggio’s daring version of the 
same legend, where the artist revels in the diffi- 
culties of fore-shortening. ‘Two other pictures that 
must be seen are the “Holy Family” painted by 
Raphael for Francis I, and Tintoretto’s “Susanna 
in the Bath,” with very Venetian elders spying. 

On the way to the Salon Carré from the stairs 
which the “Winged Victory” dominates, we find, I 
should have said, the two Ingres, separated in time 
by a life-time of years, the Memling, the Antonio 
Mor portraits and the sweet Luini frescoes. 

Before beginning on the long gallery we ought 
to examine the Italian primitive room on the right, 
where we pass from Cimabue and Giotto to Uccello 
and Fra Angelico. Gziotto’s synthetical life of St. 
Francis is very interesting, and later we find this 
painter’s portrait, together with those of Donatello, 
Manetti, Brunelleschi and Uccello himself in a 
work from Uccello’s hand. For quaintness look at 


PARIS 75 


the Sano di Pietro and the Fiorenzo di Lorenzo. 
The Fra Angelico predella scenes are charming. 
But the two favourite pictures here are the Ghir- 
landaio—the old priest, so bulbous and tender, and 
the little acolyte—and the very simple and beauti- 
ful Alessio Baldovinetti “Madonna and Child.” 
The two cities in the Mainardi “Madonna and 
Child” are Venice and—what? Pesellino’s “Na- 
tivity” should not be missed. 

And now for the long gallery, which is of a 
formidable length and has, weak walkers will 
quickly realise, two sides; but until one comes to 
the centre the left side is of chief importance; and 
then again the right side is comparatively negligi- 
ble until one comes to the Dutch section at the 
end. 

The central compartment of the long gallery is 
the new Salon Carré and on the way thither the 
best pictures on the right are perhaps the Andrea 
del Sartos, the Franciabigio portrait of the wistful 
young man, and a brilliantly gay Correggio, oppo- 
site Leonardo’s “John the Baptist.” Opposite the 
Tintorettos is a very curious work which I men- 
tion for its realism rather than its beauty, a “Re- 
pose of the Holy Family,” that favourite subject, 
by Lomi, called “I] Gentileschi” (1562-1646), in 
which Joseph sleeps with a thoroughness surpassing 
even that of the disciples in Mantegna’s “Agony in 
the Garden” which we saw at the National Gallery, 
while the Child is a Hercules. Behind is a Con- 


76 A WANDERER AMONG PICTURES 


stable sky. A most strange picture altogether, and 
I think of nothing with which to compare it. 

Beginning on the left side we come quickly to a 
group of Mantegnas, all arrestingly full of that 
intellectual force which he brought to his brush. 
The masterpiece is perhaps the St. Sebastian, whose 
martyrdom had a fascination for this painter. 

The best Leonardos, Raphaels, and Titians are 
segregated in the new Salon Carré but there are 
others on the left wall en route. The Leonardos 
include another version of “The Virgin of the 
Rocks,” and “La Belle Ferronniére,” as his por- 
trait of a girl is called: a work of faultless model- 
ling, but age has yellowed it. His John the Bap- 
tist in the wilderness and his Bacchus (so discon- 
certingly alike) are here too; and about him are 
his followers—Solario, Boltraffio, Luini, all suave 
and sensuous. The Raphaels include the mag- 
nificent portrait of Balthasar Castiglione, one of 
the finest pictures in the Louvre, and the Madonna 
known as ‘ La Belle Jardiniére”’; the Titians, the 
“Vierge au Lapin” which always has a crowd be- 
fore it, and rightly, for it is both charming in con- 
ception and captivating in colour; the “Man with 
a Glove,” another of the glories of the gallery, and 
the golden portrait of Laura. Other Venetian 
work of great splendour includes a “Holy Family” 
by Sebastiano del Piombo, when he was still under 
the spell of Giorgione; and “Adoration of the 
Shepherds” by Palma; and a wonderful sketch for 
a “Calvary” by Paolo Veronese, a symphony in yel- 


S1lnd ‘alano'y 
yOUR TN “VHOS V NO LYNVWN ANVGAVA 


WOPHDALE) OJOYUd 








Photo Hanfstaengl 


LA BERGERE GARDANT sEs MouTons. Millet 
Louvre, Paris 


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“ATUVW LV SGOOTH AHL 





PARIS 17 


low. And here I must mention the two brilliant 
Tiepolo studies on a revolving screen in a window 
near by. 

In the new Salon Carré we find Leonardo’s 
“Monna Lisa” with its usual band of worshippers. 
There she is once more, after her vicissitudes, smil- 
ingly inscrutable as ever. Beside her is Raphael, 
with his “Jeanne d’Aragon” and two little gem- 
like pictures painted at the same time as the “Vision 
of a Knight” in the London National Gallery, 
when he was still only a youth; and here is Cor- 
_reggio with his lovely “Mystical Marriage of St. 
Catherine”; and Giorgione with his burning ‘“Con- 
cert Champétre,” which was one of the first of the 
new pictures, painted for the sake of sheer beauty 
rather than of religion, and is still unsurpassed. 
The Titian chosen for this central compartment is 
the allegory painted in honour of Alphone d’ Avalos, 
while on a screen is Leonardo’s tender “Virgin and 
Child with St. Anne” group, the drawing for which 
we saw at Burlington House. 

On the back of the “St. Anne” screen hangs a 
work which brings us at a stride from the soft rap- 
ture of Italy into the hard brilliance of Spain— 
an altar-piece by El Greco, which, the more one 
sees it, the more it holds the eye. His portrait of 
Philip hangs close by and by its want of the graces 
of flattery perhaps accouuts for the shortness of 
El Greco’s career as a court painter; but its liveli- 
ness and power and fierce intensity are not to be 
denied. After a number of Riberas, of which the 


78 A WANDERER AMONG PICTURES 


portrait of the smiling clubfoot boy is the best 
known, we come to Murillo, who is here in all his 
moods, rapt and realistic, and doubtless if Maréchal 
Soult (that picture dealer at the point of the 
bayonet) had had his way with Madrid as with 
Seville, there would be Velasquezes in profusion 
here too. One of the latest acquisitions, by the way, 
is a study of a dead turkey to which Velasquez’ 
name is given. I am not qualified to question the 
ascription. 

The Murillos comprise the famous “Immaculate 
Conception of the Virgin” which represents the 
mother of Christ as she was seen in a vision by a 
pious Portuguese nun, Beatrix da Silva. It repre- 
sents the mother of Christ being, so to speak, born 
to her divine destiny at the age of fourteen or so. 
The vision was accepted by the Church—or at any 
rate by the Spanish section of the Church—and it 
became a favourite subject with painters. Murillo 
has many versions. It must not for a moment be 
confused with the “Assumption” of the Virgin. 

In another picture Murillo, with some charming 
touches of realism, depicts the Virgin as an infant; 
but his most delightful work is that known as “La 
Cuisine des Anges” (really two pictures), the right 
half of which shows him at his best with its little 
winged kitchen maids among the food and fruit, 
the jugs and dishes. Not even Velasquez could 
have surpassed that table-load of bowls. 

A few Goyas bring the Spanish group to an end. 

We then enter the Low Countries, where the 


PARIS 79 


three great Flemings—Rubens, Van Dyck and Jor- 
daens—are to be found on each side of the gallery. 
More of the work of all three awaits us, but I will 
name here the Rubens sketch of his wife and two 
children, so dashing in manner although fading in 
colour, and on the opposite wall the two Jordaens 
groups, one of them depicting the Drinking King, 
of whom I say more in the chapter on Brussels. 

Next, the Dutch compartment where Rembrandt 
rules. Every picture from that strong, sombre and 
yet poetical brush must be examined. My own 
favourite is the “Venus and Cupid,” which might 
more appropriately have a title that bears purely 
upon the affection of mother and child. This is 
in the centre of the left wall, on which Ruisdael 
and Hobbema are also to be found. Opposite is 
Frans Hals, with formal portraits and the free and 
easy “Bohémienne,” that truly living presentment 
of a merry girl. 

The next room is the palatial salon of Van Dyck, 
where we find the famous portrait of Charles I 
beside his horse, with the gathering clouds behind, 
and the delicate portrait of the Duke of Richmond, 
and in the far corner a beautiful mother and child 
from the same distinguished hand, together with 
other of his works, some of them altar-pieces; and 
here is the brilliant fleshly Jordaens, with “Christ 
expelling the money-changers,” and here is Rubens’ 
again, with landscapes as well as figures; but for 
Rubens at his most spirited, splendid and—shall I 
add?—absurd (look at the fat oarswomen rowing 


s0 A WANDERER AMONG PICTURES 


without rowlocks) you must enter the next Salon, 
which is wholly his and contains his series of 
courtier-compliments to Marie de Meédicis, who 
emerges from the flattering attentions of his brush 
little lower than the angels. 

I do not advise, except for fun, much tarrying 
in this florid apartment, but rather a descent to 
the little rooms on each side of it where some of the 
greatest (although smallest) treasures of the 
Louvre are to be found. | 

Beginning with the rooms on the left from the 
doorway between the Van Dyck Salon and the 
Marie de Médicis Salon, we come to the Dutch 
School. 

In the first room proper you will find Brouwer’s 
“Smoker”; a Nicholas Maes interior, an old woman 
saying grace; the first of the Van Goyen land- 
scapes; the first of the Jan Steens—a family feast- 
ing; and a pleasant landscape—the plain of Haar- 
lem under a fleecy blue sky—by a painter not often 
seen on our travels, Joris van der Hagen, one of 
the good second-best workmen of that wonderful 
period in Holland, who died in 1669, 

In the next room is a picture by Pieter Lastmann, 
another of the good second-bests, and of peculiar 
interest because he was the young Rembrandt’s 
master: the “Sacrifice of Abraham.” A young man 
by David Bailly and two very good Ostades should 
be looked at. 

In Room I] I—the best of the Dutch series—we 
come to the great master Rembrandt himself, the 


PARIS | 81 


beautiful “Pilgrims at Emmaus” dominating all. 
This always seems to me to be one of the supreme 
possessions of the Louvre. There are other Rem- 
brandts, including two philosophers in their murky 
studies; a little “Holy Family,” a gem; and the 
“Tobit” with the marvellous flying angel. Rem- 
brandt’s pupil, Gerard Dou, is also here, with a fine 
example. One of the two Van der Hagen land- 
scapes has a sky like Vermeer’s “View of Delft” 
at the Hague, and here is Vermeer himself in what, 
for charm and delicate witchery, is perhaps the 
very jewel of these cabinets—“La Dentelliére.” 
Note how the odds and ends of embroidery are 
painted. Surely it is magic? There is also a good 
snow scene by Adrian van der Velde. 

In the next room—No. XXIII—we find the 
other Vermeer, the landscape painter of Haarlem. 
Another landscape painter of power, but not well 
known, is Pieter de Bloot. A big Jan Steen is here, 
and the most famous of the Gerard Dous—“La 
Femme Hydropique’—with amazing details, all so 
small and yet large. ‘There are some of the little 
charming Dutch painters too, of whom I say little 
in these pages, but who have a constant appeal by 
their grace and comeliness and perfection of 
method and who are in numerical strength in al- 
most every gallery in Europe—Poelenburg, 
Berchem, Karel du Jardin, Jan Wynants. A 
Metsu white jug should be looked for and the view 
of Scheveningen by Van de Velde. 

In Room XXIV is the best of the Jan Steens— 


82 A WANDERER AMONG PICTURES 


low life, marvellously painted. A rare painter, 
Zachteleven (1606-81), has a fine portrait, and the 
detail in the Thomas de Keyser portrait should be 
examined, 

In Room XXV we find an arresting portrait of 
a girl by Govaert Flinck, one of Rembrandt’s fol- 
lowers. Here is Terburg’s famous “Concert,” with 
the comely red-lipped boy carrying the beer. A 
Bol portrait is good, and Metsu is found to have 
yet another dangerous rival in Ary de Vois 
(1681-80). 

Room X XVI has the best of the Van Goyens, 
that serene painter, and a glorious Paul Potter. 
The accomplished Wouwerman is in good form too; 
but the surprise is (again) the excellence of some 
of the less-known masters of interiors, such as Jan 
Verkolie (1650-98), Slingelandt (1640-91) and 
Bega (1620-64). Truly every one in Holland had 
the seed in those days! There is an excellent Heda 
—nuts, glass and silver, and a Rembrandtesque 
Ostade. 

In X XVII, the last of the Dutch rooms, we find 
Metsu doing still-life as well as his rivals, and a 
painter new to me, Breenbergh (1599-1659), with 
some attractive classical landscapes; also what I 
guess to be the earliest picture with tea-drinking 
as its theme, by F’. Van Mieris. 

It was while crossing the passage to the other 
series of cabinets that I once met an English tourist 
about to adventure on the rooms I had just left. 
Addressing his weary wife, in a strong north-coun- 


PARIS 83 


try accent, he said, “You sit down while I look 
round. If there’s anything, I'll call you.” 

The vestibule of the little room on the other side 
—No. XX VII I—has early works of the School of 
Catalan. 

Then in Room XXIX we find some of the 
Louvre’s masterpieces. Here is the_ beautiful 
triptych of John the Baptist, Christ between the 
Virgin and St. John the Evangelist, and the Mag- 
dalen, by Rogier de la Pasture, or, as he is better 
known, Roger van der Weyden; one of the most 
exquisite pictures in the world. Here also is a 
triptych by Memling, with the sleeping soldiers in 
it, and an angel removing the lid of the tomb, and 
Christ rising; and Memling’s John the Baptist and 
the Magdalen; and two very fine Dirk Bouts, one 
of the Virgin and Child with pinks given by that 
friend of the Louvre, Mr. Walter Gay; and, per- 
haps above all, the Jan van Eyck Virgin and Child 
with the donor on the ramparts of a tower, and an 
enchanted town and bridge and river seen from it. 
Whatever else one has to miss at the Louvre, this 
little room must be visited. 

In Room XXX we find the kindly Jehan 
Carondelet as painted by Mabuse, and the curiously 
convincing (although so Belgian) “Marriage in 
Cana” by Gerard David, and three works by that 
disquieting realist Old Brueghel, including one—a 
farm scene—that might be hung in any modern ex- 
hibition and excite only surprise by its merit and 
lead to no suspicion of its age. Here also is the 


84 A WANDERER AMONG PICTURES 


fascinating anonymous head of Charles V. But 
the picture that wins most attention is that of the 
banker and his wife by Quinten Matsys, where the 
Antwerp master proves his power both as a great 
painter and a miniaturist. Having looked at it 
from across the room, examine the details: the il- 
Juminated missal which the wife was reading until 
her husband asked her opinion; the rings on the 
little finger of her right hand; the articles on the 
shelves: the diminishing mirror in which is reflected 
the street and also—possibly—a would-be thief! 

In Room XXXII is an adorable little picture 
by the Master of the Death of Mary. 

In Room XXXII we find a quaint but charming 
synthetical work by an unknown German painter, 
with the quaintest groups of angels singing to mu- 
sic, and many amusing accessories. Other early 
German painters represented here are Ludger Tom 
Ring the Older, whom we shall meet again in Ber- 
lin, and Gumpolt Giltinger with an Adoration. 

In Room XX XITI we come to those later Ger- 
man masters, Holbein and Diirer, both with fine 
examples. 

In Room XXXIV the great Flemings again 
confront us, the new Van Dyck, a flute player, 
painted with power and freedom, having the place 
of honour. There is a nice little landscape by 
Rubens and a characteristic Siberechts. 

In Room XXXV Rubens has some brave 
sketches and there is an impressive head of an old 


S10 


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yUOTY IpPNeyy) “WOAALNADUV LV AOVH LHOVA 








PARIS 85 


man by Van Dyck, and another head, larger than 
life, by Mol. 

And here, since for drawings I have no space to 
say anything, we must leave the Louvre’s Old 
Masters. 





CuartTer V: PARIS 


CHAPTER V 
PARIS 
Il. The Louvre: French Pictures 


HE French pictures in the Louvre are scat- 
tered. I will begin with those in the rooms 
that are always open. 

The earliest are in Room IX, which leads out 
of the long gallery on the right, and are very 
primitive. 

In Room X is the famous Pieta of the School of 
Avignon in the fifteenth century, a work of painful 
but compelling austerity. Here also are other ec- 
clesiastical paintings in tempera on wood, including 
a too realistic representation of the martyrdom of 
St. Denis, with a terrible executioner at work. 

In Room XI we come to portraits by the Clouets 
and their followers. Note No. 1036, “Henri LIT 
at the Cross.” The School of Fontainebleau 
“Venus at her Toilet” is interesting. The por- 
trait of a botanist by Francois Clouet should be 
sought for. 

Room XII is dominated by those strange figures, 
the three brothers Le Nain, who flourished in the 
first half of the seventeenth century and were origi- 


nal members of the French Academy, but of whom 
89 


909 A WANDERER AMONG PICTURES 


little is known. Although they were themselves 
French their subjects suggest Holland and their 
methods Spain. The “Reunion” of peasants has 
some admirable drawing and painting of still-life 
in it. The colour scheme of the Le Nains is always 
curious. 

We cross the landing by the Escalier Mollien and 
now enter Room XIV where the great classical 
French painters of the eighteenth century are to 
be found, notably the Poussins and Claude. The 
Claudes at the National Gallery, not only those 
which hang in challenge next the two Turners, but 
others too, are not inferior to the best here; but 
when it comes to Nicolas Poussin the Louvre wins 
easily. We have nothing to put beside the glori- 
ous “Inspiration of a Poet” or “The Shepherds of 
Arcady” or “The Funeral of Phocion.” The por- 
trait of the great painter, by himself, is among his 
work. ; 

Among the Rigauds is the sumptuous larger- 
than-life Louis XIV. Note also the portrait of 
Bossuet. A rare painter with a powerful hand, 
something in the manner of Jordaens, is Blanchard, 
whose “Cimon and Iphigenia” is very finely drawn. 

We now cross Room XV, which has a screen 
on which the latest acquisitions are placed and 
must therefore always be visited. Otherwise it is 
not remarkable, the permanent pictures being fétes 
cham pétres and so forth by Van Loo and his com- 
panions. 


Room XVI is popular chiefly for its Chardins, 


PARIS 91 


which are in profusion. I can name only a few, but 
among the still-life studies, No. 101, a jug and pipe, 
and No. 102, fruit, should be seen, and of course 
the charming domestic groups, “Le Bénédicité” and 
“La Meére Laborieuse.” ‘There are also some de- 
lightful portraits, such as the little Gabriel Gode- 
froy spinning a top, and on the opposite side, “Le 
Siffleur,” a Rembrandtesque figure. 

Look for a delicate little portrait of an artist by 
Lépicié, who is better known as an engraver. 
Among other good portraits are those by Duplessis, 
Tocqué and Nattier, of women, and M. de la 
Marche by Danloux. 

The landscape painter Vernet, who did much to 
turn Richard Wilson from portraits to romantic 
scenery, has some Roman views not a little in Wil- 
son’s manner; and Moreau will be found to be Wil- 
sony too in a picture of the Seine, and in its com- 
panion a little like Crome. 

There are several Greuzes, the most interesting 
being the dramatic scene, “L’ Accordée de Village,” 
and the most popular, “The Broken Pitcher.” 

Boucher is here, brilliant as ever, especially in the 
“Diana leaving the Bath,” and Lancret with some 
delicious daintinesses, and the always adorable Fra« 
gonard. Note particularly his “Voeu 4 1 Amour.” 

A tragic and historically attractive picture is 
Prud’hon’s portrait of the Empress Josephine. All 
Prud’hon’s work here is interesting, and very di- 
verse too, from the oil sketch of Christ on the Cross 
to the portrait of little Marie Marguerite Lagnier. 


92 A WANDERER AMONG PICTURES 


Note also the portrait of a young man, No. 758. 
Pierre Prud’hon, whom we saw at the Wallace 
Collection, but who is little known in England, was 
born in 1758 and died in 1828. 

Finally I must mention the Boilly pictures of 
Paris street life in the eighteenth century, and— 
the magnet of magnets—Madame Vigée Le Brun’s 
portrait of herself and her daughter, which all the 
world knows and loves in reproduction. 

We can leave Room XVI by a door on the great 
staircase—Escalier Daru—on each side of us being 
one of Botticelli’s lovely frescoes frrom the Villa 
Lemmi: works of unforgettable charm. 

But to be chronological we ought to return 
through Room XV with the high painted ceiling 
to Room VIII, leading from it, the great room 
where the Men of the Thirties hang. Here the com- 
manding figures are Delacroix and Ingres, but 
work as comparatively recent as Manet’s “Olym- 
pia” hangs here too. Ingres as a portrait painter 
(particularly in the M. Bertin) and a painter of 
the nude deserves close attention. If he had been 
a great colourist he would have been terrific, so 
sure was his hand. It is interesting to compare the 
cold classic perfection of his “Odalisque” with the - 
modernity of Manet’s “Olympia.” Delacroix has 
several crowded canvases, of which the fight at 
the barriers in 1880 is the most remarkable. It 
has strokes like Hals in it. One of the most at- 
tractive pictures here is Mottez’ unfinished portrait 
of Madame M. Other portraits finely painted are 


PARIS 93 


the two sisters by Chasseriau (Ingres’ pupil) and 
a young girl by Flandrin; but perhaps the most 
attractive is Corot’s “La Femme 4 la Perle.” His 
“Danse des Nymphes’” is cracking badly. The Mil- 
let rainbow calls the eye back again and again, but 
I think that Rousseau’s great Fontainebleau forest 
scene is the finest landscape. Troyon is at his best 
in a huge canvas. 

After the great Room VIII the natural progress 
would be to the Chauchard and Thomy-Thiéry 
rooms of Barbizon pictures; but I am keeping these 
separate collections till later in the chapter and now 
deal with those miscellaneous French rooms of all 
periods—together with some foreign work, notably 
British—which are opened only at two o’clock and 
which are gained by turning to the left by the 
“Winged Victory” instead of to the right. | 

We begin with No. III, which is a large room 
principally devoted to the works of the painter 
whom Charles Lamb spelt “Darveed.” Here is his 
gigantic representation of Napoleon and the Pope 
at Notre Dame; here is the familiar Madame 
Récamier on her stiff little sofa; here is the well- 
known Madame Seriziat and child. All are com- 
petent and hard. 

In the next room there is nothing of note, and 
then we come to the La Caze collection and find 
again some of the most charming French painters 
at their best, and Chardin with another version of 
“Le Bénédicité” and also another child portrait, 
“The House of Cards,” together with more studies 


94 A WANDERER AMONG PICTURES 


of fruit and still life. Fragonard has some ex- 
quisite things, including the “Etude” and “La 
Chemise Enlevée”; Boucher, Lancret, Pater, Wat- 
teau, all are here. Rigaud has a fine portrait of 
a young aristocrat; Bourdon a Dutch interior; Nat- 
tier a portrait of Madame Henriette, and there is 
a beautiful head attributed to the Milanese School. 

We now cross the landing and after traversing 
five rooms of furniture enter a series of cabinets, 
Although their contents are liable to constant 
change I say a word as to the arrangement at the 
moment—1924—with a warning that the informa- 
tion may already be false! No. I is devoted to 
the work of Géricault, the animal painter, who 
visited England in the early years of the nineteenth 
century and painted our race horses. 

In Room II is a choice from the collection of 
drawings by the Old Masters recently left to the 
nation by Léon Bonnat, the portrait painter, among 
them some magnificent work from Rembrandt’s 
hand and Millet’s. Also some of Ingres’ distin- 
guished pencil heads. 

In Room III we find a mixed assemblage of 
more or less recent work, including Manet’s amus- 
ing portrait of his wife on a blue sofa, and a charm- 
ing portrait of Berthe Morisot, who was Madame 
Eugéne Manet. Pictures by Daumier, Corot, 
Toulouse-Lautrec, Delacroix, and Millet are here 
too. 

In Room IV we come to Corot again with two 
portraits. There are two large Daubignys, an In- 


PARIS 95 


gres, a Rousseau, and a boy and butterfly by 
Dutilleux. 

In Rooms V and VI are more Corots: a cathe- 
dral, a woman in blue, one of his early Roman views, 
and two typical landscapes. Regnault, Ingres and 
Chasseriau are here and also that sickly painter 
Ary Scheffer. 

We then come to an interesting room of pastels, 
some by the great La Tour himself (look at his 
delicious Marie Leczinska) and two self-portraits 
by Chardin, showing him to have worn horn-rimmed 
spectacles before the Americans did; and then to 
rooms dedicated to Isabey, to Watteau’s drawings, 
and to Prud’hon, with a very fine charcoal portrait 
of Mlle. Mayer in it. 

The two English cabinets now claim attention. 
The Louvre has nct many English pictures but they 
are good and of an impressive seriousness. The 
great portrait painters are well represented: Rey- 
nolds, Raeburn, Romney, Lawrence and Hoppner. 
But it is perhaps Constable and Bonington, Turner 
and Wilson, that give the little collection its great- 
est value. One of the Constables, a cottage, seems 
to have all Rousseau in it. A splendid “Weymouth 
Bay” is also here. Bonington is more varied, rang- 
ing from Venice to the coast of Normandy, from 
Versailles to a portrait of an old lady. . 

The miscellaneous articles bequeathed by Thiers 
occupy adjoining rooms. The only picture of note 
is a Terburg portrait. 


96 A WANDERER AMONG PICTURES 


THE CHAUCHARD COLLECTION 


The Chauchard Collection is gained from the 
great Salon where Rubens exalts and deifies Marie 
de Médicis. M. Chauchard, whose ol portrait and 
marble bust—both heavily whiskered—are to be 
seen here, was the proprietor of the Magasins du 
Louvre. That he was really a lover of art I cannot 
believe, but he knew the names of the painters whose 
work the best people were buying and now and 
then he got a good picture. In the main, however, 
he got only such pictures as good painters paint 
for collectors who are not really lovers of art but 
can pay large sums. If you want, for example, 
to see the Barbizon painters at their best—with the 
possible exception of Millet—you will climb to the 
floor above and look at the little pictures which 
they painted for their enthusiastic patron M. 
Thomy-Thiery, who loved their art sincerely and 
understandingly. 

But the Chauchard Collection has one good 
Corot, “Le Moulin,” among many that are merely 
typical; and two very beautiful Millets, “La Tri- 
coteuse” and “La Bergére.” It is necessary to visit 
it to see Meissonier at his best, the famous “Retreat 
from Moscow” being here, as well as many of the 
little elaborate interiors. Rousseau, Diaz, Jacque, 
Daubigny, Troyon and Dupré—all are here too, 
but seldom inspired. ‘The most popular picture will 
always be the Magdalen reading in a cave, by J. J. 
Henner. 


PARIS 97 


THE SCHLICHTING COLLECTION 


Next to the Chauchard Collection is a long room 
which, although it contains miscellaneous pictures, 
I mention here for reasons of geography. Among 
several good pictures that hang here the most sur- 
prising is the spirited “Boys Bathing” by Nicholas 
Maes, who could hardly be farther removed from 
the “Everlasting Prayer’ mood by which he is 
known. Boucher has a brilliant if shameless 
“Odalisque” and a delicious portrait of the Pompa- 
dour with details most dexterously painted. A 
good insolent head by Frans Hals and a dainty 
Fragonard offer a wide contrast. The “Zephyr” 
by Prud’hon is alive. Venice supplies Bellini, 
Veronese and Tiepolo. 


THE THOMY-THIERY COLLECTION 


M. Thomy-Thiery had indeed a passion for 
Barbizon and its School—with which Corot, al- 
though he was not a resident there but at Ville 
d’ Avray, is perhaps chiefly associated—and his col- 
lection contains many perfect things. Almost every 
picture is a gem, but I draw particular attention 
to the Corots, which are in abundance, all, or nearly 
all, in his happiest mood, with some indescribably 
exquisite. M.Thomy-Thiery liking his pictures to 
be small and serene, you find here none of the great 
Rondes of Nymphs, and so forth, that the deal- 
ers and M. Chauchard preferred. Note in particu- 
lar among the Corots the “Entrée de Village,” 


98 A WANDERER AMONG PICTURES 


“Le Chemin de Sévres,” “La Route de Sin-le- 
Noble,” “Le Vallon,” a doorway at Dinan and the 
portrait of the Magdalen reading; Daubigny’s “Le 
Marais,” “Les Peniches,” “Ia Mare aux Cicognes,” 
“Bateaux sur l’Oise,” “Les Graves de Viller- 
ville’; Troyon’s “Le Promenade des Poules,” and 
“Le Matin”; Millet’s “Les Botteleurs,” “La Cou- 
suese,”’ “KEglise de Greville’ and “Précaution 
Maternelle’; and Rousseau’s “Le Marais dans le 
Landes,” “La Plaine des Pyrenees,” “L’Etang,” 
“Bords de la Loire,” “Les Chénes,” and above all 
“Le Printemps.” It is a most attractive collection 
and the visitor with time is wise to concentrate on 
these rooms and see no other work on the same 
day. 


THE MOREAU-NELATON COLLECTION 


In theMoreau-Nelaton Collection in the Pavillon 
Marsan, which though also in the Louvre is gained 
from the Rue de Rivoli, we find Corot again and at 
his best, early and late. No. 8 for example is very 
early, one of the Rome views. Other lovely land- 
scapes are Nos. 9, 14, 16, 24, 28, 38, 38 and 40, 
the “Bridge at Mantes.” There are also several of 
his quiet subtle portraits, of which Nos. 25 and 39 
are notable. Corot’s palette and two of his pipes 
are in a glass case with other relics, among them 
two of Delacroix’s palettes. Other pictures are 
Manet’s famous “Picnic” and Fantin-Latour’s 
“Hommage a Delacroix,” with Whistler in the fore- 
ground; two Sisleys, Nos. 94 and 95; and Claude 


PARIS 99 


Monet, Nos. 75, 77, 79, 80 and 82. In the gallery 
upstairs will be found water-colours. 


THE CAMONDO COLLECTION 


I have mentioned Monet and Sisley, who were 
the leaders with Pissarro of the impressionist land- 
scape school which arose in France in the eighteen- 
seventies and for a while diverted attention from 
the Barbizon methods. Some of their best work 
is to be found in the Camondo Collection in the 
Louvre proper, which, if we are to be chronologi- 
cal, we shall now visit. Isaac Camondo was a 
man of great wealth and sensitive taste who left 
his collection of pictures, furniture, bronzes and 
Japanese prints to the nation. The collection has 
the additional merit of being reached by a lift, 
which we find at the end of the gallery to the right 
of the main entrance; but, as I said, it is open only 
on certain days. 7 

The hero of the Camondo collection is Degas, 
that discoverer of beauty in ballet girls, whom he 
approached with some of the spirit of the Japanese 
and a sense of colour and power of draughtsman- 
ship all his own. His famous picture of the “Ab- 
sinthe Drinkers,” which created a storm when it 
was exhibited in London many years ago, is also 
here. Manet, another uncompromising delineator 
of life, to whom perhaps Degas owed something— 
Whistler, I think, was indebted to both of them— 
1s strongly represented too. Claude Monet and 
Alfred Sisley are at their best, Sisley with flood 


100 A WANDERER AMONG PICTURES 


scenes on the Seine and Monet with the facade of 
Rouen Cathedral under different effects of lght 
and with lovely river landscapes. ‘The most at- 
tractive Cézanne I have seen—the “Maison du 
Pendu’’—is here, masterly in its relentless decision; 
and you may see also with what devotion this stern 
painter came to flowers. There is a lovely Puvis, 
and Boudin is here too, and that bluff snapper-up 
of brave effects among shipping, Jongkind. But 
I believe that I would give all for the little “Fillette 
asa Toilette” by Corot. 





Photo Neurdein 


PORTRAIT DE SA MERE. Whistler 
Jeu de Paume, Paris 





VILLA MEDICI LANDSCAPE. Velasquez 
Madrid 


Cuapter VI: PARIS 








CuapTer VI 
PARIS 
III, The Luxembourg and Other Galleries 


OW that the foreign pictures have been re- 
moved to the Jeu de Paume, the Luxembourg 
is wholly French; and as new additions to its walls 
are constantly being made, just as the Tate in Lon- 
don is regularly reinforced by purchases under the 
Chantrey Bequest, it follows that there must be 
changes of which this book should, but cannot, take 
note. 

The entrance gallery is alive with dazzling sculp- 
ture. At the side are two little rooms, of which that 
on the right is given to the latest French art and 
that on the left to the Impressionists of the eight- 
een-seventies. Among the painters in the more 
modern room I have marked Louis Charlot as being 
very interesting. His subjects are peasants, treated 
largely and with understanding sympathy. The 
work of Guillonat and Vallotton should be looked 
at. Marquet has a curious gift of lucid brush- 
work and a perfect sense of composition. His work 
is always flooded with light. 

In the Impressionist room we find Claude Monet 
and Sisley once again, always sincerely striving to 

103 


104 A WANDERER AMONG PICTURES 


arrest atmospheric moments, always with a wistful 
feeling for beauty. Sisley’s “Cour de Ferme” is 
a perfect work; Monet’s “Yacht Race” at Argen- 
teuil actually irradiates the heat of the sun. Renoir 
is here too with a persuasive portrait of two girls 
at the piano. 

In the large room No. 1 we find Monet again, 
with a scene in a garden which shows once more 
with what love and zeal he has served nature and 
art. Boudin’s “Port of Bordeaux” is a masterpiece 
that will repay return visits. That jovial veteran 
Harpignies, the last of the Barbizon men, may be 
seen in his own work and also, as he looked late 
in life, in the portrait by Jonas. The portraits by 
Fantin-Latour, Bonnat and Carolus-Duran, each 
in their own way, are very notable. That curious 
and rare modern painter whose work as well as his 
name recalls Ribera—Ribot—is to be found here. 
I like the bleak uninhabited landscapes by Cazin 
and Pointelin, one on each side of the door. 

In the passage-way are two works by Gustave 
Moreau, that odd antiquarian and mystical painter 
whose studio in the Rue de la Rochefoucauld is 
now a public Musée. If you like his pictures at the 
Luxembourg you should certainly go there and see 
with what fertility he executed his dreams and 
visions. 

In Room II we find the original of a prettiness 
familiar all the world over, “Au Crépuscule,” by 
Chabas, the artist of “September Morn.” Bonnat 
has a good portrait of an old artist and Joseph Bail 


PARIS 105 


a small Dutch picture magnified, with some remark- 
ably painted detail. 

In Room III the family group of Caro-Delvaille 
has great charm. Gervex’s “Operating Theatre”’ 
reminds one of the fashions in French painting of 
thirty or forty years ago, now changed. Geoffroy’s 
“Visit to the Hospital” also went round the world 
in reproductions. ‘The portrait of M. Lacroisade 
by Etchevery is living, and “Sem” the caricaturist, 
by Francois Flameng, could hardly be more 
photographic. Raffaelli’s “Political Meeting” has 
power, but would be very differently painted 
to-day. 

Room IV has a good fishing scene by Cottet 
and you can see here what a false god used to be 
worshipped in Bouguereau. 

Room V has a fine Venetian scene by Ziem and 
the two famous portrait groups by Fantin-Latour, 
one of musicians and one of authors. 

Room VI is notable for its work by Puvis de 
Chavannes, that master of lovely neutral tones and 
cool spaces. ‘The more modern decorative manner, 
which to my mind is far inferior, may be studied 
in the work of Maurice Denis on the opposite wall. 
A little still-life—French novels and marigolds— 
by Vallotton is interesting. 

Room VII is given chiefly to the shadowy, sor- 
rowful work of EKugéne Carriére. Cazin’s “Ish- 
mael” is a fine poignant thing. 

Room VIII is largely Cottet’s and displays his 
versatility. 


106 A WANDERER AMONG PICTURES 


Room IX has some dashing modern work, of 
which perhaps the dancing girl by De Scévola is 
most noticeable. A little landscape by Vignon, a 
sketch by Tenré and a curious treatment of Har- 
fleur by Moreau-Nelaton remain in my memory; 
but, more than all, the amusing picture called “The 
Club” by Béraud, which should be reproduced for 
the correction of all wives who envy their husbands 
those arid retreats. 

Room X has a clever interior by Blanche, a 
sketch by Harpignies, and an effect of sunlight by 
Le Sidaner. 

Room XI is the best room for a long while. It 
has a beautiful interior—Gambetta’s death-cham- 
ber by Cazin; a fencer by Carolus-Duran which 
could hang with such Dutch masters as Terburg 
and De Keyser, and the same painter’s mandolin- 
player; Bastien Lepage’s famous landscape; and 
excellent examples of Degas, including work as 
early as the days when he was under the influence 
of Ingres. Such moderns as Gauguin and Matisse 
are also to be studied here, Gauguin’s oranges being 
glorious. Two little pictures by Roybel, rather in 
the manner of the Belgian Alfred Stevens, and “La 
Bavardeuse” by Ribot, complete this survey. 


THE PETIT PALAIS 


Many of the painters that we have seen at the 
Luxembourg we find again in the Petit Palais, 
which is where the city of Paris keeps its statuary 
and pictures. Like the Luxembourg it is subject 


PARIS 107 


to change. Among the new painters to look for 
are Charlot, Lepére (landscape), Lucien Simon, 
Maurice Denis, Déchemand (old people), Joseph 
Bail, Laprade, Chartrain (portrait of his mother), 
Roll, Jean Veber, and Alphand. 

To me the older work is more valuable than the 
new—the drawings, for example, by Puvis de 
Chavannes and Prud’hon, a water-colour of Venice 
by Sargent, notes by Sisley, powerful trifles by 
Gauguin and Daumier. There are also the rooms 
where are to be found again Sisley and Jongkind, 
Monet and Monticelli, Manet (the portrait of 
Duret is like a pocket Velasquez), and Berthe 
Morisot, Cazin, Ribot, and Fantin-Latour. Corot’s 
favourite, the pupil Lépine, has a great view of the 
Pont des Arts, more like Daubigny than his master, 
and Ten Cate paints the Paris roofs. Couture, 
Ribot, Mottez, all of whom we saw at the Luxem- 
bourg, are here, and there are a number of sketches 
by Jules Breton. 


THE JEU DE PAUME 


The pavilion of the Jeu de Paume (real tennis) 
at the corner of the Place de la Concorde and the 
Rue de Rivoli, close to the métro station, now 
houses the pictures by modern foreign artists which 
belong to France and used to be in the Luxem- 
bourg. 

The exhibits are interesting rather than repre- 
sentative. England at the moment could, I am 
sure, fill a similar room with finer English work 


108 A WANDERER AMONG PICTURES 


than is here, excellent though the pictures, collected 
by Mr. Edmund Davis and presented to France, 
often are. Sir William Orpen’s Café Royal in- 
terior is one of his most brilliant works, while two 
at least of the painters represented in that canvas— 
Mr. Nicholson and Mr. Pryde—have examples of 
their genius on the walls. The East-end picture 
by Mr. Kennington is now perishing. Near it is 
so widely different a work as Watts’s “Love and 
Life,” which shows how catholic is this room. Mr. 
Cayley Robinson and Mr. Brangwyn are other ex- 
tremes that meet here. 

Mr. Sargent, although an English R. A. of the 
greatest eminence, is found in the American section, 
where he has the famous “Carmencita.” This pic- 
ture we may, in the mind’s eye, associate with that 
other Spanish dancing-girl, by Manet, which we 
saw in the Camondo Collection, A fine wild coast 
scene by Winslow Homer is possibly as remark- 
able a work as the Jeu de Paume holds. Whistler’s 
portrait of his mother has a place of honour and 
constant homage. There is a charming little in- 
terior by Mr. Walter Gay, and the work of Dannat, 
who was something of a Ribot, is sound. 

In the Italian section Signor Boldini has some of 
his dashing portraits. ‘The large symphony by 
Caputo is interesting. Befani’s market-place has 
a glamour that kills everything near it. 

The Spanish section is notable for Zuloaga; the 
Scandinavian for Krojer’s sea piece. 

In the little Russian room we find Marie Bash- 





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Milan 


PARIS 109 


kirtseff, the self-analyst, and see how like her mas- 
ter—Bastien Lepage—was her own work. Sorine’s 
exotic portrait of Pavlova has a strange fascination. 

Some of the most attractive work is in the Bel- 
gian and Dutch rooms, where we find such older 
masters as Alfred Stevens and Jongkind. Ledén 
Fréderic’s pre-Raphaelist panels have gaiety. The 
curious Platonic assembly by Delville haunted me 
long after I had left the gallery. 


OTHER PICTURES 


Let me add in conclusion that pictures, chiefly 
historical, will be found at the Carnavalet, and that 
at the Pantheon are the Puvis de Chavannes St. 
Genévieve frescoes. Also that if you want to know 
what is being collected and who the most promis- 
ing new painters are, you should always walk up 
and down the Rue de la Boétie, which is a free gal- 
lery of great liveliness. Nor should the Sale rooms 
at the Hotel Drouot be neglected. 


Cuapter VII: MADRID 


CuaptTer VII 
MADRID 
The Prado 


HE great building in Madrid known as the 
Prado, or Museo Nacional de Pintura y Is- 
cultura, was built for a natural history museum but 
has been, in the main, well adapted for a picture 
gallery. Charles III began it in 1785, but, owing 
to a universal cause of obstruction to the humani- 
ties, War, it was not finished for many years. Com- 
paratively recently improvements were made, but 
there still are rooms in which almost no light enters, 
and in certain of these some of the pictures that 
most need light—the Flemish primitives—are 
lodged. A complete reconstruction is, however, in 
progress, and I shall therefore say little as to actual 
positions of pictures. 

As in the case of the Louvre, the Prado owes to 
the Throne the greater part of its treasure, pri- 
marily to Charles V (1500-58), father of Philip of 
the Armada and brother-in-law of Francis I, 
Leonardo’s last patron. This was the monarch who, 
after world-wide power, abdicated and became a 
pious recluse. His favourite painter was Titian, 


and he took into retirement with him the famous 
113 


114 A WANDERER AMONG PICTURES 


work, now in the Prado, in which the great Vene- 
tian, who was not above flattery, depicted his 
‘““Apotheosis.” Few kings have had the opportun- 
ity of so sweetening their declining years. Charles’s 
son, Philip II, inherited the passion for pictures, 
and particularly those of Titian, a portrait of him 
by the hand of that master being sent to the Eng- 
lish Court as earnest of his quality when he was 
courting Mary Tudor. 

But it is Philip IV (1605-65) who gave the gal- 
lery its special cachet, for it was he who at an early 
age attached a young Sevillian artist named Diego 
Velasquez (1599-1660) to his person and for the 
rest of their joint lives put interest in the activities 
of his studio before family or State. The result is 
that, although there are paintings by this magician 
of the brush, this first of the moderns, elsewhere, it 
is necessary to go to the Prado, where there are 
some sixty of his works, to appreciate him fully. 
Velasquez not only painted pictures of Philip, and 
for Philip, but was sent to Italy on picture-buying 
missions, many of the Prado’s choicest possessions 
being due to his taste and judgment. Later came 
Philip V, the Bourbon (1683-1746), to add French 
pictures of his own time, and then Charles III to 
build the Prado, and Ferdinand VII to complete 
it and establish in it the various Royal collections. 

It is natural in the Spanish national gallery to 
find Spanish art; but one is surprised to find also 
such a magnificent run of the Venetians. Rubens 
again riots here in all his vigour. And here, too, 


MADRID 115 


is an unexpected profusion of eighteenth century 
Netherlanders and Flemish primitives. But it is 
the name and fame of Velasquez that give the 
Prado its unique and exalted position among gal- 
leries, and it is fitting that his statue should have 
been placed before it. Although there are pictures 
by this prince of painters elsewhere no other gal- 
lery has anything to compare with those magnifi- 
cent works, “Las Menijfias,” “The Lances, or Sur- 
render of Breda,” “The Tapestry Weavers,” and 
“Los Borrachos, or the Topers’’; while I am saying 
nothing of the “Asop” and other portraits, and the 
two little landscapes. 

“Las Menifias,” that astonishing feat of impres- 
sionism, the finest example of the new painting 
which paved the way to the art of the nineteenth 
century, is alone worth all the tedium of the journey 
to Madrid. Of this picture one may safely say that 
there is nothing like it elsewhere. Each picture, 
no matter by whom, has, of course, individualities; 
but the resemblance between one Raphael and an- 
other, one Titian and another, one Rembrandt and 
another, is, for example, instantly evident; whereas 
the great scene where the little Infanta is being 
depicted by the Court painter, while her ladies give 
her costume its finishing touches, and the King and 
Queen, suddenly entering, are caught in a mirror, 
stands alone. There is nothing with which to com- 
pare it, not even in its creator’s other work.* Again 


1There is a very excelient copy, by John Philip, of a detail of “Las 
Menifias” in the Diploma Gallery of the Royal Academy in London. 


1146 A WANDERER AMONG PICTURES 


Velasquez painted the “Borrachos,” those roadside 
convivialists, with their extemporized Bacchus, only 
once; the “Tapestry Weavers’ only once; the 
“Surrender of Breda” only once. As for the two 
little landscapes, impressions of the Villa Medici 
in Rome, done when Velasquez was there in 1630, 
the name of Corot might almost be on both; ex- 
cept that, since Velasquez painted them and Corot 
did not, there is all the difference. 

The Velasquez canvases come first; but the Prado 
is so rich that without them it would still be among 
the finest of the European galleries, for there are 
several other distinct sets of pictures, apart from 
single examples, that make it essential to the stu- 
dent of art. Its second painter is Murillo; but the 
Murillos are not such lodestones as the Velasquezes, 
and there are more Murillos scattered about the 
world too—thanks not a little (as I hinted in the 
article on the Louvre) to the acquisitive tendencies 
of Maréchal Soult when he was in a position to loot 
the churches and hospitals of Andalusia. The 
Murillo room at the Prado is the first resort of 
simpler souls, and it contains some of his most 
charming work, notably the Holy Family known as 
“The Little Bird,” and “Los Ninos de la Concha,” 
the picture in which the two children, Jesus and 
St. John, play together with a lamb, and St. John 
drinks from a proffered shell. 

The third set of pictures to make the Prado 
unique are the Goyas, of which there must be, up- 
stairs and downstairs, hundreds, including a mass 


BEATRICE DEST Ascribed to Leonardo da Vinci 
Milan 








Photo Brogi 


VIRGIN AND CHILD. Michelangelo 
Florence 


MADRID 117 


of macabre drawings. In other galleries you may 
taste of his genius; but only the Prado gives its 
extent, and the range is very remarkable. Goya, 
I may say, is modern enough to have painted the 
Duke of Wellington, and in a fit of temper, to have 
thrown a plaster cast at that austere sitter’s head. 
He died in 1828 after a varied and tempestuous 
career which embraced a certain amount of bull- 
fighting and not a little amorous adventure. His 
portraits had extraordinary life-like qualities; but 
to understand him rightly it is necessary to see the 
vast number of works, finished and unfinished, 
which the Prado possesses. His statue, a demure 
little old stone gentleman, is in front of one en- 
trance. The two most popular of Goya’s Prado 
pictures will always be the ‘Maja’—the com- 
panion portraits of a Spanish girl on a couch, 
identically the same, save that in one she is dressed 
and in the other nude. ‘There also are the realistic 
war scenes belonging to the French invasion in 
1808, and several groups of the royal family in 
which Goya shows himself to have been no re- 
specter of persons. 

These three national painters, to whom must be 
added El Greco and Zurbaran and Ribera, make 
the Prado a gallery apart. Of the others Zurbaran 
is the strongest, with his stern, uncompromising re- 
alism, and Ribera, who migrated to Naples, where 
he was known as Lo Spagnoletto, the most the- 
atrical; while EK] Greco stands alone in art. A native 
of Crete, named Domenico Theotocopuli, he was 


118 A WANDERER AMONG PICTURES 


born in the middle of the sixteenth century, and 
after working in Italy settled about 1577 in Toledo, 
where his house is now preserved and shown. For 
a while he was painter to Philip II, but his methods, 
as can be seen at a glance, are not those of a 
courtier. He himself, although a pupil of Titian, 
suggests the influence of Tintoretto, while his own 
influence seems only now to have begun, few artists 
of his time being more admired by the young men 
of our day. His figures are often out of drawing 
and his colours can be very crude and harsh; but 
there is a strange almost fanatical fire burning in 
all his work, and one cannot pass it by; whether 
disliked or liked, it must be respected. El Greco 
died in 1614, when Velasquez was fifteen, three 
years before Murillo was born. 

The three foreign painters, who, although their 
work is to be found elsewhere, are here in greatest 
force and at their best, are Titian, Rubens, and 
Van Dyck. Titian, as I have said, was Charles 
V’s favourite master, and the sympathy between 
the monarch and the painter led to some glorious 
achievements even though the courtier may seem 
too much in evidence, as when, in “La Gloria,” 
the Emperor and Empress and Philip II (who 
launched the Armada against England) are de- 
picted among the blessed. In addition to the Royal 
pictures, it is necessary to go to Madrid to see 
Titian’s “La Fecundidad,” that riot of cherubs. 
Other fine Italian pictures which should be sought 
are Giorgione’s Madonna and Child with two 


MADRID 119 


Saints, unfinished but very lovely, and a magnifi- 
cent Tiepolo “Conception.” 

Titian was never in Spain—his portraits of 
Charles V were painted at Bologna and Augsburg; 
nor was Van Dyck, whose association with it came 
through Philip’s brother, Ferdinand, Governor of 
the Netherlands. But Rubens visited Madrid in 
1628, and remained there for nine months—with 
Velasquez appointed by the King to be his cicerone. 
He brought pictures with him and painted others 
there. The gallery has more than sixty in his in- 
comparable robust manner; but none, to my mind, 
is more remarkable than the portrait of Marie de 
Médicis, which used to hang beside Rembrandt’s 
“Artemisia” and Van Dyck’s “Countess of Ox- 
ford,” but has recently, under the new arrange- 
ment, been placed elsewhere. 

The portrait section of the Prado is yet another 
of its glories, including, as it does, those three mas- 
terpieces; the pictures by Velasquez’ Spanish pred- 
ecessors, notably Coello; a series of heads by an- 
other predecessor, Antonio Mor, who may be 
called a link between Holbein and the great Span- 
iard; many Titians; Raphael’s glorious Cardinal 
Alidosi (one of the several Raphaels here); two 
Diirers; and, in the long gallery, a little series of 
women’s heads by Tintoretto that have extraordi- 
nary charm and delicacy of colour. 

Lastly, we come to the early Flemish pictures, 
in the basement, where, as I have said, there is little 
light; but the masterpieces are on easels near the 


1200 A WANDERER AMONG PICTURES 


windows. Chief perhaps is the work of Memling, 
in a beautiful triptych; of Petrus Cristus, that 
northern Perugino; of Patinir, and the two Van 
Eycks. An “Annunciation” and “Expulsion from 
Paradise” by Fra Angelico come as a surprise. 
And now let me relate the story of yet another 
artistic hoax. In a corner I found a second “An- 
nunciation” of much sweetness, unnamed, which 
seemed to be an equally early work and to have 
been removed from some ancient monastery wall. 
Its attraction was such that I bought the photo- 
graph of it that is lying now before me, A day or. 
so afterwards I showed this photograph to a Span- 
ish painter, who at once began to laugh. Spaniards 
—at any rate, Spanish men—laugh so seldom, and 
the picture is so essentially serious, that I was 
naturally perplexed. He then explained. ‘This 
curiously primitive fresco is the work of a modern 
Argentine artist named Arriaran who painted it as 
an antique effort for fun, and in course of time it 
found its way to the Prado. 

So far as I know, our National Gallery has no 
work by Arriaran. 


Cuapter VIII: MILAN 





Cuapter VIII 
MILAN 
The Brera and Other Collections 


ILAN’S fame as a place of pilgrimage for 

the lover of painting comes from Leonardo 
da Vinci’s “Last Supper,” in the refectory of the 
Dominican Monastery adjoining the church of 
Santa Maria delle Grazie. It is too late in the day 
to say more of this fresco than that, in spite of time 
and many vicissitudes, it is still one of the most 
beautiful things in the world, and that, no matter 
what the renovators may have superimposed which 
is not Leonardo’s, the idea is his, the choice of mo- 
ment is his, the drama is his, and the disposition of 
the figures. 

There is a copy of the “Last Supper” by Marco 
d’Oggiono, Leonardo’s pupil, in the Royal 
Academy Diploma Gallery at Burlington House. 
It is faithful in most respects, but has a coarseness 
of technique of which Leonardo was incapable. The 
hands lack sensitiveness, too. ‘There is also, in the 
same gallery, an original by Leonardo which too 
few Londoners have seen: the drawing for the 
group of St. Anne and the Madonna and Holy 


Children in the Louvre. Were this lovely work 
123 


124 A WANDERER AMONG PICTURES 


hanging in a foreign gallery thousands of English 
tourists would be familiar with it. At the British 
Museum are many of Leonardo’s drawings. 

Leonardo, although he is thought of chiefly in 
connexion with Milan and as the head of the Lom- 
bard School of Painting, was a Milanese only for a 
while and by chance. The illegitimate son of a Flor- 
entine lawyer, he was born at Vinci, a village near 
Empoli, in 1452, As a boy he was brought up in 
his father’s house in Florence, and from the age of 
about eighteen until he was twenty-five he was a 
pupil of Verrocehio in that city. Thus all the influ- 
ences of his most impressionable years were Flor- 
entine. After leaving the studio of an admirably 
gifted master, who had, however, no more to teach 
him, except perhaps the importance of application 
and patience, Leonardo continued independently 
as a Florentine artist, working upon, if not com- 
pleting, a number of commissions for churches and 
for private enthusiasts. ‘This we know from his 
note books. But even so early he was beset by the 
demon of versatility that so often stood between 
himself and fruition. 

This is no place to narrate Leonardo’s life in full; 
I merely want to emphasise the fact that his roots 
were Florentine. Not until he was thirty-one did 
he go to Milan, and even then he was employed, by 
Ludovico Sforza (Il Moro), as an architect and 
military engineer rather than as a painter. In 
1494 he began the “Last Supper”; in 1499 his 
‘Milanese sojourn was over. ‘The most famous of 


MILAN 125 


his works, after the “Last Supper’—perhaps I 
might say before it, for it is more accessible—the 
“Monna Lisa,” was painted in Florence when he 
returned there early in 1501. Before the end he had 
a Roman sojourn and he died in France in the serv- 
ice of Francis I at the Chateau de Cloux, near 
Amboise, in 1519. But his chief influence as a 
painter, none the less, was exercised upon the young 
men who gathered about him in Milan and imbibed 
deeply of his personality, and it is through them and 
their variations upon his romanticism that he has 
come to be thought of as the son of Lombardy too. 


THE BRERA 


Milan has two famous galleries, in each of which 
are works of importance, and it has also some sub- 
sidiary collections. Let us look first at the Brera. 
By this I mean the Pinacoteca lodged in the Palazzo 
di Brera, which, built in the seventeenth century for 
a Jesuit college, has since 1776 been the headquar- 
ters of painting in the city and is now known as the 
Palazzo di Scienze, Lettere ed Arti, with busts and 
statues of eminent Italians around its walls. It 
also houses the Braidense library and the Royal 
collection of coins. 

The principal attraction of the gallery to many 
visitors is the head of Christ attributed to Leonardo 
and possibly a first sketch for the head in the “Last 
Supper”; but expert opinion gives it to a derivative 
of the great genius. Leonardo’s followers are 
strongly represented, especially Luini, whose “Ma- 


126 A WANDERER AMONG PICTURES 


donna in a Bower of Roses” always has a knot of 
worshippers before it. ‘There is a very charming 
Sodoma, but it is too like the master. Cesare da 
Sesto, Ambrogio de Predis, Boltraffio, Solario—all 
are here, all very close to their inspiration. In the 
National Gallery we find them too, but London has 
the advantage over Leonardo’s adopted city in be- 
ing able to hang among them an unquestioned au- 
thentic work, “The Virgin of the Rocks.” 

Although the School of Lombardy is naturally 
much in evidence, the chief treasures of the Brera 
are Venetian: the “Finding of the Body of St. 
Mark,” by Tintoretto, vivid and sudden as the 
cinema, and a marvellous “Pieta,”’ by Giovanni 
Bellini. That rare painter, Carlo Crivelli, is here; 
m one altar-piece the appliqué jewels (of which he 
was so fond) are missing from the Madonna’s 
breast. Cima is here, and Lotto, with a series of 
portraits, very interesting; and there is a richly 
coloured Bonifazio dei Pitati, the “Finding of 
Moses.” From Padua come three Mantegnas, and 
from Umbria some frescoes by Bramante the archi- 
tect, large and vigorous figures, and his friend Ra- 
phael’s famous “Sposalizio” or “Eispousals of the 
Virgin,” which was painted in 1504 for the chapel 
in the Milan Castello: a masterpiece of drawing 
and arrangement, but rather dull in colour. ‘The 
Piero della Francesca, the Gentile da Fabriano, 
the Carpaccios, and the Francia should be looked 
for. 

Among the decadent Italians I was struck by the 


MILAN 127 


directness and boldness of a “Knight of Malta,” by 
a late painter, Strozzi, and by a very strong and 
vivid sketch in the manner of Tiepolo, who was 
later still, painted by an almost exact contemporary 
G. B. Pittone (1687-1767). Tiepolo himself, Can- 
aletto, Longhi, and Guardi are also represented. 
There is a Rembrandt portrait, but more memora- 
ble is a “Princess of Orange,” by Van Dyck. 


THE AMBROSIANA 


Milan’s other great gallery is the Ambrosiana, 
which it owes to its steady patrons, the Borromeo 
family, Cardinal Federico having founded it in 
1618. I have said too little about drawings, which 
are not on my high-road at the moment, but the 
Ambrosiana, where the painting is not too remark- 
able, is made unique and glorious by its examples 
from Leonardo’s divine hand. No one can know 
anything of the vast variety of this marvellous man 
until the Ambrosiana is visited, for in addition to 
the many separate sheets of studies, the Codex At- 
lanticus is preserved here, that huge MS. book in 
which he set down so many of the thoughts and 
surmises of his pen and pencil. Drawings by other 
masters are here too, but next the Leonardo collec- 
tion the Ambrosiana’s chief treasure is the original 
cartoon for Raphael’s “School of Athens” fresco 
in the Vatican, which we are on our way to see. 

Most popular of the pictures is the portrait of 
the charming young girl called Beatrice d’Este, 
which is still attributed to Leonardo, but is thought 


128 A WANDERER AMONG PICTURES 


by the experts more likely to have been painted by 
another. It was one of Cardinal Borromeo’s own 
pictures, and in the deed of gift, on 18 April, 1618, 
he himself described it as “A portrait of a Duchess 
of Milan, half length, from the hand of Leonardo. 
.. It was then in a black frame; the present 
ornamented frame was designed for it in 1905. 
Beatrice d’Este was a Duchess of Milan from 1491, 
when she was sixteen, until 1497, when she died; 
Leonardo was in the service of her husband, Ludo- 
vico Sforza, as we have seen, from 14838 to 1499, and 
- was a friend of the young girl. Nothing, then, is 
more natural than that he should have painted her. 
The portrait in question is, however, now given to 
Ambrogio de Predis. Who shall decide? De 
Predis is said also to be sole painter, or part painter, 
of another of the Ambrosiana pictures with Leon- 
ardo’s name to it: the well-known portrait of a 
youth in a red cap and curly Leonardesque hair, 
called “I] Musicista.”” When it was given to the 
gallery in 1686 it was described as “from the hand 
of Luini.” Later, this was changed to “from the 
hand of Leonardo.” Now the experts say Am- 
brogio de Predis; and, again, who shall decide? 
The pure and bland Luini, whose favourite type 
of female beauty was so like Leonardo’s, but who 
was never, it is believed, an actual pupil of the mas- 
ter, as were the others whose work we saw in one 
room at the Brera—Ambrogio de Predis, Cesare 
da Sesto, Salaino, Boltraftio, Marco d’Oggiono— 
is very strongly represented at the Ambrosiana, 


MILAN 129 


both with his gentle brush, and with the pencil. A 
“St. John,” by Andrea Salaino, is slavishly near 
the Leonardo “St. John” at the Louvre, with the 
same pointing finger. Leonardo’s influence—not 
unnaturally when we think of his personality and 
power—was perhaps too strong for his young men. 


THE POLDI-PEZZOLI 


Milan also has two or three smaller collections, 
chief of which is that miniature Wallace Collec- 
tion, as it might be called, the Poldi-Pezzoli at No. 
10 Via Morone, which Signor Poldi-Pezzoli be- 
queathed to the city in 1879. His tastes were very 
wide, embracing every kind of article of virtu— 
from jewels to tapestries—and he had some good 
pictures, all of them, since they were conditioned 
by his rooms, being small. Many of the attribu- 
tions on the frames have been questioned, but there 
are a myriad things here that one covets, and it is 
no place for a kleptomaniac to be let loose in. To 
my mind the pictorial gems are the little travelling 
altar-piece triptych by Mariotto Albertinelli, and 
the Botticelli “Madonna and Child.” There is a 
warm little Perugino; a classical piece by Cima; a_ 
Samson and Delilah, full of colour, that has Car- 
paccio’s name; an attractive Verrocchio school- 
piece; and very pleasing examples of Solario, 
Foppa, Fossano, Bonsignori, Palma Vecchio, 
Luini, and Cesare da Sesto. Signor Poldi-Pezzoli, 
whose portrait is on the walls, was to be envied as he 
walked through his apartments. I should mention 


130 A WANDERER AMONG PICTURES 


also a girl’s head (which has been given to Piero 
della Francesca, to Domenico Veneziano, and is 
now called a Pollaiuolo) which every one knows in 
reproduction, and a little Guardi, very like a 
Whistler. 


THE CASTELLO 


The picture gallery in the Castello, that amazing 
fortress, truly a city in itself, has a few good works 
and is always liable to receive more by legacy. I 
found a very pleasing Marco d’Oggiono, some 
Boltraffios, but no Leonardo, although his hand is 
credited with the decoration of one of the great 
ceilings, and it was in the courtyard that once stood 
the model of his lost equestrian statue, which, had 
it been cast in bronze, instead of being muddled 
away, might have been even finer than Verrocchio’s 
Colleoni in Venice or Donatello’s Gattamelata in 
Padua—at present the two grandest horsemen in 
the world. A Correggio and portraits by Por- 
denone, Moroni, and Van Dyck remain in the mem- 
ery, and an unknown Venetian picture called “The 
Confidence.” A painter not often met with, Daniele 
Crespi (1590-1630), has a striking “Holy Family, 
and there are five little Guardis. 


CuapTer IX: FLORENCE 





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THE ADORATION OF THE MAGI. Leonardo da Vinci 
Florence 


CuaprTer IX 
FLORENCE 
I, The Uffizi 


HERE are so many pictures in Florence, 
either in the galleries or the churches, that 
many chapters would be needed to begin to do jus- 
tice to them; but as it is with the two great galleries 
only—the Uffizi and the Pitti—that we are con- 
cerned, two chapters must suffice. Before I close 
them, however, I shall say a few words about the 
other treasures. 

The history of the Uffizi gallery, like the history 
of Florence itself, is bound up in the word Medici. 
Giovanni d’Averardo (1860-1429), the first of the 
great line, may not have cared much for anything 
but power and money, but his son Cosimo the Elder 
(1389-1464) added to his worldly ambition an en- 
thusiasm for literature and art, and it is largely be- 
cause of this enthusiasm that Florence has its name 
as the abode of humane beauty and culture. Had 
Cosimo gone under to the Albizzi in 1433, who can 
say what Florence would be like to-day? But they 
obtained no more than his exile, which he spent in 


great comfort and even luxury, until he was invited 
133 


134 A WANDERER AMONG PICTURES 


back by the Signory; he returned, in 1434, far 
stronger than before; and from that moment de- 
voted his mind and his wealth to the task of making 
his city glorious. He built churches, he founded 
libraries, he financed a complete translation of 
Plato and befriended and encouraged Donatello 
and Ghiberti, Fra Lippo Lippi and Brunelleschi. 

In spite of Cosimo’s initiative, it is possible still 
that Florence might not have fulfilled her destiny; 
for his son Piero (“The Gouty’”’) was of inferior 
quality; but Piero luckily managed also to defeat 
his foes, chief of whom was Luca Pitti, and really 
to establish himself, before Lorenzo, known as ““The 
Magnificent,” succeeded him, in 1469, at the age 
of twenty-one, and made the city safe. 

If art and letters had been an excitement to Cos- 
imo, they were a ruling passion with his grandson. 
His palace was the home from home of the best 
intellects and craftsmen. Pico della Mirandola was 
chosen as the tutor of his sons, and Michelangelo 
was brought up with them. Botticelli was appointed 
limner to the family, Leonardo da Vinci and every 
painter and sculptor of genius were employed in 
some capacity or other, and Lorenzo was the vir- 
tual founder of the Uffizi. It was, however, left 
to the other branch of the family, who came later 
into power, to make the collections what they are, 
Francis I (1574-87), son of Cosimo I, being the 
first to adapt the top-floor terraces of the Uffizi to 
receive them. It was Ferdinand II who added the 
Venetian pictures, and Cosimo III (1670-1723) 


FLORENCE 135 


who brought the Dutch examples and the Tribuna 
statues. All this time the treasures had belonged 
to the ‘Medici, and it was the last of that family, 
the Electress Palatine Anna Maria, who died in 
1743, who by bequest made them the property of 
Florence. ‘The Hugo van der Goes came later, a 
gift from the Archduke Pietro Leopoldo, the 
founder of the Accademia. 

The Uffizi gallery in Florence takes its name 
from the Palazzo degli Uffizi, or Palace of the 
Offices, where the municipal government was car- 
ried on, and it is interesting to remember that the 
architect was Giorgio Vasari, Michelangelo’s pupil 
and Luca Signorelli’s kinsman, and the author of 
the “Lives” of the principal Italian painters with 
whose work we are concerned in this survey. The 
rooms devoted to the pictures contain what must 
probably ever be, unless some astounding and un- 
thinkable convulsion should liberate its treasures 
for public competition, the most remarkable collec- 
tion in the world; at any rate, the least negligible 
collection for the student of painting. 

The special glories of the Uffizi, after the exam- 
ples of painting at its earliest, from Cimabue, 
through Giotto, to Fra Angelico, are the “Holy 
Family” of Michelangelo, his sole example of an 
easel picture in oil; the “Adoration of the Magi,” 
by Leonardo da Vinci, unfinished; the “Baptism of 
Christ,” by Verrocchio, with probable assistance (in 
the two kneeling angels) from Leonardo when he 
was in Verrocchio’s studio; the many Botticellis, 


1386 A WANDERER AMONG PICTURES 


recently increased by those from the Accademia; 
Piero della Francesca’s portraits of the Duke and 
Duchess of Urbino, with the delicious classical 
scenes on the back of each picture; the Raphaels, 
the Bellinis and Titians, and the Hugo van der 
Goes. 

To many visitors to Florence it is Botticelli who 
is the most magnetic painter in the Uffizi, and by 
no other hand are there so many or such diverse 
works. ‘They now, under the latest arrangement, 
are spread over two great rooms and range from 
the gladness of the “Primavera,” with its dainty 
ladies stepping on the flowers about Simonetta, who 
herself walks on air, to the tragedy of “The Cal- 
umny,” which is supposed to have been painted as 
a tribute to Savonarola; from the little “Judith 
and Holofernes” to the great “Pallas and Mer- 
cury”’; from the “Madonna of the Pomegranate,” 
with its wistful Christian melancholy, to the pagan 
“Birth of Venus.” Botticelli was both a friend and 
servant of the Medici family, and in one of the 
Uffizi pictures, the “Madonna of the Magnificat,” 
the boy Lorenzo is depicted, and his ill-fated brother 
Giuliano is there too, in yellow. 

After Botticelli I should say that the “Madonna 
and two Children,” by his master Fra Lippo Lippi, 
and the “Madonna Adoring,” by Lippi’s son Filip- 
pino Lippi, who was Botticelli’s pupil; Raphael’s 
“Madonna of the Cardellino” (the goldfinch) , and 
Franciabigio’s “Madonna of the Pozzo” (the well) 
are chief favourites. Other very popular works—I 


FLORENCE 137 


have seen great crowds before them on Sundays— 
are the two scenes in the life of Christ by Gerard 
Honthorst, a later and alien painter, whom we shall 
find in a distant room, together with Baroccio, who 
is negligible in the development of art, but has the 
warmest admirers among the simple. 

It is interesting, after looking at Michelangelo’s 
“Holy Family,” in the same room as the Raphael 
and Franciabigio, to go back to Luca Signorelli’s 
“Madonna and Child,” because therein has been 
found one of the few instances of influence which 
the stern and uncompromising giant allowed him- 
self to accept. In both of these pictures are nude 
figures, and Michelangelo is known to have admired 
the powerful anatomical element which Luca, an 
artist not less thoughtful and sincere than himself, 
was so bold as to introduce into religious work. In 
Luca’s “Madonna and Child,” the naked young 
men, as they stand about in the background among 
the ruins, might be mere artist’s license; in Michel- 
angelo’s picture one is constrained to think of them 
as symbolic: typifying the old religion giving place 
to the new. But in any case the likeness of one 
work to the other is very interesting. Luca, I might 
say, died in 1528, aged eighty-two; Michelangelo 
was his junior by thirty-four years. The wild flow- 
ers at the feet of the “Madonna and Child” in 
Luca’s picture are true to nature. 

Before the rearrangement, the Tribuna used to 
be reserved, as was the Salon Carré at the Louvre, 
for the choicest possessions of the Gallery; but it 


188 A WANDERER AMONG PICTURES 


is now given largely to Bronzino’s portraits of the 
later Medici. But the famous statues remain. 

I am saying nothing of many wonderful works, 
but one which I cannot neglect is “The Repose in 
Egypt” by Correggio, in which we find new colours 
and a new and more fluid way of laying colours on. 
And I would draw special attention to the very 
charming “Adoration of the Magi,” with its three 
scenes from the life of Christ, in the predella, by 
Gentile da Fabriano, both for its colour and clarity, 
and for the sweetness of the artist’s fancy. (One 
should never neglect the predella of an altar-piece. ) 
Looking at this picture, it is interesting to remem- 
ber that this early painter was the teacher of Jacopo 
Bellini, whom he brought to Florence from Venice, 
and that Jacopo was the teacher of his son Giovanni 
Bellini, who was the teacher of ‘Titian and Gior- 
gione, and thus was the father of the voluptuous 
Venetian school. We have admirable opportunities 
to study the work of these painters in the Venetian 
rooms at the Uffizi, which have great wealth, al- 
though they naturally lack the completeness of the 
Tuscan section. But how cool they make so many 
of the masterpieces that we have just seen! Here 
we find Giorgione’s name and glory, if not his 
actual work, in the Knight of Malta portrait and 
the two Old Testament scenes, so rich in incident 
and hue; here we find Titian’s “Madonna of the 
Roses,” the “Flora,” and some noble portraits; 
Mantegna with a triptych inexhaustible in interest; 
and a number of fine portraits by other hands. 


FLORENCE 139 


Perhaps Bellini’s “Sacra Conversazione” is the out- 
standing work here; and I am indebted to Miss 
EK. EK. Hubert Small for an interesting theory as 
to the meaning of this strange and beautiful work. 
It is, she tells me, believed to illustrate a religious 
poem written in the fourteenth century by a French 
Cistercian monk, Guillaume de Deguilleville. The 
poet is supposed to be conducted by an angel on a 
Dante-like journey, in the course of which he visits 
Purgatory and sees the souls there. In the Uffizi 
picture in the middle of the enclosure stands a small 
symbolic tree—the tree of the Cantus Canticorum 
upon which grows the mystic apple which sym- 
bolises Christ. Bellini represents the souls in child- 
form playing with apples. 

“In the poem’ —I am now quoting from my cor- 
respondent—“there is a long discussion between 
the tree of the Cantus Canticorum and the bare 
and leafless Tree of Knowledge, in which the latter 
complains that the apple which had once been its 
own now belongs to the other tree, and Justice (rep- 
resented by Bellini as a female figure) decides that 
it is right that it should one day be restored; lead- 
ing up to the idea that the Cross was fashioned of 
wood from an offshoot of the Tree of Knowledge 
given by an angel to Seth, who planted it upon 
Adam’s grave. In the corner of Bellini’s picture 
Justice wears a crown, and St. Paul holds a sword 
over her head. 

“The Madonna is represented sitting on a marble 
throne, her eyes downcast in sadness, while she 


140 A WANDERER AMONG PICTURES 


folds her hands in intercessory prayer for the souls. 
Over her head hangs a symbolic device of a blood- 
red baldacchino, and the single bunch of grapes—a 
common early symbol of Christ. A standing figure, 
commonly called St. Lucy, probably represents one 
of the attendant holy women who minister to the 
Madonna in her grief. Bellini substitutes S. Job 
and S. Sebastian (two of the Plague saints popu- 
lar with the Venetians) for the St. Peter and St. 
Paul of the poem who are spoken of by Deguille- 
ville as the “advocates” of the souls—and closely 
repeats the two figures of the S. Goibbe altar-piece. 
“In every detail the background follows the poem 
in its symbolism. We see the hermit in his cave 
practising the austerity of life needful to shorten 
the time in Purgatory; we see the Centaur, emblem 
of man’s lower nature; the stag, sheep and ass with 
their special symbolism; while on the other side 
of the picture a man in oriental dress obviously 
stands as the type of the unbelieving world. It is 
more likely that the lake shown in the background 
is a picturesque feature in the beautiful landscape 
than a representation of the Waters of Lethe, as 
Deguilleville does not mention Lethe at all. 
‘Authorities differ as to the date of this picture. 
The close resemblance between the saints and those 
of the S. Giobbe altar-piece, together with a simi- 
larity of the child forms to the Frari Infant Christ, 
and one or two other small details, point to a com- 
paratively early date, say about 1486. But at 
whatever date it was painted it is surprising to find 





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THE MADONNA DELLA sEDIA. Raphael 
Florence 





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THE CONCERT. Giorgione 
Florence 


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THE PROPHET DANIEL. Michelangelo 
Rome 


FLORENCE 141 


a later fifteenth century Venetian giving sympa- 
thetic study to the medieval allegory, mystic sym- 
bolism being a quality distinctly foreign to the 
general spirit of Venetian art.” 

In the Van der Goes room, in addition to the 
northern masterpiece that gives it its name, we find 
Gerard David, Roger van der Weyden, and Hans 
Memling. In the Flemish room is Rubens, with 
two incidents in the life of Henri IV, full of ani- 
mation, nudity, and paint. Sustermans, who was 
brought to Florence by the wife of Ferdinand II, 
Vittoria della Rovere, is here too, with Van Dyck 
and Jordaens. ‘The German school is best repre- 
sented by Diirer and Cranach, while among the 
French pictures are two charming portraits by 
Alexis Grimon. I say nothing of the Dutch pic- 
tures, all picked examples, save that they include a 
very fine landscape by that rare master, Hercules 
Seghers, the friend of Rembrandt. 








CHarrer X: FLORENCE 





CHAPTER X 
FLORENCE 
IT. The Pitti and Others 


HE Pitti, once the massive palace of Luca 
Pitti, who came to grief in his attempt to re- 
move the power from Piero de’ Medici and exert 
it himself, is now a royal palace and is among those 
which have recently been given by the King to the 
nation. The collection of pictures was formed, like 
the Uffizi, by members of the Medici family, not 
in the direct line from Cosimo the Elder and Lor- 
enzo the Magnificent, but collaterals deriving from 
Cosimo the Elder’s brother, and Giovanni d’ Aver- 
ardo’s younger son, Lorenzo. At Luca Pitti’s fall, 
in 1466, the palace, the original design for which 
was by Brunelleschi, the architect of the Cathedral 
dome, was unfinished, and it remained so until 
Eleonora of Toledo, Grand Duchess of Tuscany 
and wife of Cosimo I, bought it in 1549 and made 
it the Grand Ducal home, moving from the Palazzo 
Vecchio in 1550. It was her grandson, Carlo de’ 
Medici, son of Ferdinand I, who began the Pitti 
collection, and Ferdinand’s grandson, Ferdinand 
II (1610-70) and Cardinal Leopoldo (the pupil 


of Galileo), who completed it. 
145 


146 A WANDERER AMONG PICTURES 


One notices at once at the Pitti a different taste 
in painting from that at the Uffizi, Indeed, the 
Uffizi cannot be said to reflect one taste at all; it 
is catholic, historical; all Italian art is represented, 
although the emphasis is laid upon Tuscany. Here 
and there, as we have seen, idiosyncrasy has play, as 
when the Northern Hugo van der Goes is hon- 
oured, and in the Dutch rooms. But taken as a 
whole the Uffizi strikes one as national rather than 
individual. The Pitti pictures, on the other hand, 
are alike in a certain richness, and they belong also 
very much to the same period, the mature period of 
Italian art, when Raphael, who is the predominat- 
ing genius here, was wielding his influence. One 
looks in vain for the early coolness of Tuscan art, 
for asceticism; it is all warm and splendid. 

Raphael I have said is the monarch of the gal- 
lery, for here are those pictures, so serene, so com- 
forting to the simple and above all to the maternal 
instinct, the “Madonna del Granduca” (the Grand 
Duke being Ferdinand III, who carried it with him 
on his journeys) and the ‘““Madonna della Sedia,” 
which are known in coloured reproductions 
wherever there are walls to hang them on. To see 
them in their calm perfection you must go to the 
Pitti. And the same master’s “La Donna Velata,” 
known also as the “Fornarina” (or baker’s daugh- 
ter, his betrothed, whom he did not live to marry) 
is also here, and his portrait of Pope Leo X with 
Cardinal Giulio de’ Medici and Cardinal Ludovico 


FLORENCE 147 


de’ Rossi, and the little but immense “Vision of 
Ezekiel.” ‘Truly it is Raphael’s gallery. 

But there is another picture here which can allure 
visitors with no less sure a force, and that is the 
“Concert” of Giorgione, that famous glowing work 
in which a young monk, having struck a note on 
the clavichord, is looking inquiringly at a fellow 
musician with a lute, while a youth in a plumed hat 
listens too. As with almost everything attributed 
to Giorgione, there are critics who would give this to 
Titian; but since we can never know, and since 
Titian (who lived to be nearly a hundred) has so 
much to his great name and poor Giorgione (who 
was dead of the plague at thirty-three) has so lit- 
tle, let us continue to call it Giorgione’s. But no 
matter by what painter, it would be equally 
glorious. f 

Titian unquestioned is to be found at the Pitti 
too, for here are several portraits, including that 
beautiful one known as “The Young Englishman” 
(possibly the Earl of Arundel, an early connoisseur 
of painting), the Cardinal Ippolito, the Tommaso 
Mosti, the Aretino, the sumptuous lady known as 
“La Bella,” and the golden lady called the “Magda- 
len.” Tintoretto has one or two fine portraits, and 
Sebastiano del Piombo, who passed from the influ- 
ence of Giorgione in Venice to that of Michel- 
angelo in Rome, is well represented, and is even 
spoken of by some critics as the author of Ra- 
phael’s “Fornarina.” Among the painters who 
are at their best at the Pitti are Andrea del Sarto, 


148 A WANDERER AMONG PICTURES 


who has many works, including a portrait of him- 
self, a “Holy Family,” a “Deposition,” and “St. 
John the Baptist as a Boy’’; and Fra Bartolommeo, 
whose “Deposition” here is perhaps his masterpiece. 

I must mention also a little Perugino with the 
tenderest evening light among the mountains; 
Filippino Lippi’s famous “Madonna and Child” 
in a circle; Dosso Dossi’s “Nymph and Satyr’; and 
some very interesting Botticelli derivatives. A 
Northern air is brought in by Van Dyck and Sus- 
termans; while Rubens has a group of scholars who 
are honouring Seneca, and, more in his favourite 
manner, a great canvas covered with hectic life 
called “The Consequences of War.” 

The Pitti, like the Uffizi, has its vistas, but you 
must go out for them; and after a long spell among 
paint, even such glorious paint as this, a little 
fresh Tuscan sunshine is very grateful. 

I must not conclude without a word about the 
collection of auto-ritratti—self-portraits—of art- 
ists. The idea began with Cardinal Leopoldo de’ 
Medici in the seventeenth century, and the series 
is being added to continually. Michelangelo’s re- 
mark, “Every painter draws himself well,” recurs 
to the mind as one walks through these rooms. 


THE ACCADEMIA AND MUSEO DI SAN MARCO 


Chief of the two smaller Florentine galleries that 
must be mentioned are the Accademia and the 
Museo di San Marco, both of which have been rear- 
ranged since the war. In the old days one had to 


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Photo Brogi 


DANAE. Correggio 
Rome 


FLORENCE 149 


go to the Accademia for the Fra Angelicos and for 
Botticelli’s “Primavera,” as well as for Michel- 
angelo’s “David” and the “Prisoners.” “David” 
and the “Prisoners” remain, but for Brother An- 
gelico’s happy visions of Heaven and simple and 
radiant treatment of Scripture we now cross the 
road to the Museo di San Marco, while the Botti- 
cellis, as we have seen, are at the Uffizi. ‘The pres- 
ent chief value of the Accademia, after Michel- 
angelo, is the historic survey of Tuscan art which 
it offers, beginning with the earliest painters and 
continuing to the mature years, with Fra Bar- 
tolommeo’s “Vision of St. Bernard” as one of its 
most popular pictures. Here you may see at once 
that kindly master’s skill with drapery and per- 
fect fitness to make acceptable altar-pieces. Cross- 
ing to his own monastery, where you may visit not 
only his cell but that of old Cosimo de’ Medici in 
his occasional retreats, we find “I] Beato”—The 
Beatified—whose temple it now is, for not only is 
there a room devoted to his works, but upstairs 
you find a series of cells each with a delicate fresco 
from his pious hand. 

Fra Angelico, as he is called, was Fra Giovanni 
before his work caused sublime adjectives to be ap- 
plied to him, and he was a Dominican monk of 
Fiesole before he came down to Florence to live at 
the Convent of San Marco. He died in Rome, 
while painting the chapel of Nicholas V in 1455, 
aged 68, and is buried there. It is late in the day 
to be critical about “Il Beato.” Enough to say 


150 A WANDERER AMONG PICTURES 


that the Founder of Christianity never had a purer, 
holier, more winsome and more ingratiating 
celebrant. 

Fra Bartolommeo, the other San Marco artist- 
monk, was not born until his angelic predecessor 
had been dead for twenty years. Fra Angelico 
may have been taught by Lorenzo Monaco, some 
of whose very ecclesiastical work we saw in the 
Uffizi; certain it is that Benozzo Gozzoli was the 
Frate’s pupil, and there is a little chapel in the 
Riccardi Palace in the Via Cavour, once the home 
of Cosimo de’ Medici, which Gozzoli decorated with 
no less gaiety and rapture than his master, if with 
a Shade more of sophistication. It was Cosimo who 
had engaged Fra Angelico to paint in the Convent 
of San Marco; it was his son Piero who commis- 
sioned Gozzoli, and Lorenzo the Magnificent as a 
child worshipped in sight of the happy splendours 
of his brush. 


OTHER PICTURES 


Two events in the history of art in Florence stand 
out as epoch-making. One was the production of 
the frescoes in the Carmine, by Masaccio, in 1423- 
28; the other, the rivalry between Leonardo da 
Vinci and Michelangelo in the historical cartoons 
prepared by them in the Palazzo Vecchio in 1504, 
All the young painters of both periods flocked to 
study these works. ‘The Masaccios may still be 
seen: in poor condition it is true; but enough re- 
mains to prove their vigour and their innovating 


FLORENCE 151 


effect, for before Masaccio no painter was dra- 
matic as these figures are, no painter put figures, 
so to speak, in the round, and his perspective was 
far in advance of any predecessor. Masaccio is 
rare even in Italy, but in 1916, largely through the 
help of the National Art-Collections Fund, the 
London National Gallery was able to acquire an 
example, a “Madonna and Child,” which has a 
strange freshness and charm. 

Although it was eighty years later than the Car- 
mine frescoes that Leonardo and Michelangelo 
were in competition, no trace of their work remains: 
but had it not been for Leonardo’s composition it 
is possible that Raphael might never have painted 
on walls at all, or at any rate might never have 
painted the “School of Athens” and the “Disputa.” 

Another early work which the visitor to Florence 
should see is the Cenacolo, or “Last Supper” by 
Andrea del Castagno in the refectory of S. 
Apollonia, which is remarkable for its stern realism. 
Like many painters of this tragic repast, but unlike 
Leonardo, Castagno loaded the dice by setting 
Judas alone on the side of the table opposite his 
Lord. The National Gallery has a Castagno too, 
very grim and austere. Finally, for I cannot find 
. room for altar-pieces, let me mention Ghirlandaio’s 
frescoes in Santa Maria Novella and Andrea del 
Sarto’s in the courtyard of the Scalzo and the 
cloisters of the Annunziata. 

And I have said nothing of what, to many per- 
sons, is the most fascinating of the Florentine gal- 


152 A WANDERER AMONG PICTURES 


leries—the Bargello. But the Bargello is concerned 
only with plastic art and in a book about pictures 
we must not be lured into such by-paths. But if 
there were time and space, how agreeable it would 
be to say a word or two that might have the effect 
of sending readers post-haste to Florence to see 
Donatello’s “St. George” and his coloured terra 
cotta head of Niccolo da Uzzano; to compare his 
“David” with that of Verrocchio, and Ghiberti’s 
Baptistery panel with that of the defeated Brunel- 
leschi; to see Michelangelo’s “Madonna and Child” 
and the head of Brutus; and to pass in review the 
rival tendernesses of Luca and Andrea della 


Robbia! 


Cuarrer XI: ROME 





CHAPTER XI 
ROME 
Vatican F'rescoes 


HE Pinacoteca of the Vatican and certain pic- 
tures in the Villa Borghese and the Palazzo 
Doria make it necessary to consider Rome in such a 
series as this; but Rome’s artistic fame is built not 
on easel pictures, but on mural decorations, on 
sculpture, and on architecture. The pictures which 
most distinguish the other cities of which I am writ- 
ing could be interchanged—surely a very interest- 
ing and valuable if perilous and revolutionary ex- 
periment !—but the painting that we chiefly go to 
Rome to see is fixed there; principally that on the 
walls and ceiling of the Sistine Chapel, on the walls 
and ceilings of the papal apartments known now 
as Raphael’s Stanze and Loggie, and on the ceiling 
of the Farnesina palace, but also elsewhere. 
Michelangelo and Raphael receive the first at- 
tention; but many other fresco artists’ work is to 
be sought for too, from Fra Angelico, who died in 
Rome while engaged on his task, to Raphael’s 
many pupils, with Perugino, Pinturicchio, and Bot- 
ticelli also represented. 
No one who has not seen Raphael’s wall paint- 
ings in Rome has any real knowledge of his genius, 


and to base an opinion of him as a painter on his 
155 


156 A WANDERER AMONG PICTURES 


Madonnas alone, and even more to express it, is 
an error. Possibly the time is never ripe to do 
more than state in the most guarded way one’s opin- 
ion of any great master; one can rarely see all of 
his work, and never be in a position to have seen 
all of it sufficiently recently. In the case of Raphael, 
periodical visits to Rome are a necessity. 

As for Michelangelo, Rome is practically his 
only abode as a painter. We saw at the Uffizi his 
one finished easel picture and his one work in oil; 
there are in the London National Gallery two be- 
ginnings of masterpieces in tempera; but Rome has 
his Sistine ceiling and the Last Judgment, and the 
ceiling alone requires and demands weeks of very 
uncomfortable scrutiny. The mirror which the at- 
tendant supplies is a help; but only a couch on 
wheels, like a stretcher-chair, on which one might 
lie on one’s back and be slowly moved and turned 
hither and thither, would really solve the problem. 
Perhaps the Pope has such an article for personal 
use. If I lived in Rome I should crave permission 
to bring one to the chapel with me. Thus placed, 
and only thus, could one rightly study the superhu- 
man wonders of this feat of decoration, and realise 
how in every department of painting Michelangelo, 
had he been less of a colossus and less disdainful, 
might have ruled. The scene in which Adam is 
tempted is, for example, such a piece of tender ro- 
mantic landscape as we associate with the name of 
Giorgione. 

The long series of episodes from the Old Testa- 


ROME 157 


ment, too rapidly rounded off with four from the 
New, which is known as Raphael’s Bible, is also 
difficult to see, although far from being so difficult 
as the Michelangelo ceiling; but the marvellous 
frescoes in the Stanze, although more accessible to 
the eye, suffer from lack of light and are a little 
worn. The School of Athens, which to my mind is 
the most fascinating, both in composition and 
colour, and the Disputa can be studied most easily. 
At the Farnesina one is struck by the freshness of 
the colours, which are like yesterday’s. But there 
it is Raphael’s designing pencil rather than his 
brush that we are honouring, for the actual painters 
were his pupils. 

While still at the Vatican let me name one of 
Rome’s few isolated pictures that seems to me to 
make a visit there essential: that early mural paint- 
ing called the Nozze Aldobrandini, which was 
stripped, about 1600, from a wall in an excavated 
villa. This work, which experts consider to be a 
Roman copy of a Greek original of the fourth cen- 
tury B.c., represents a pagan marriage, and it is 
lovely both in design and colour, all being in soft 
greens and greys. One thinks of the delicate art 
of Albert Moore as one stands before it. 


VATICAN PAINTINGS 


The Pinacoteca of the Vatican, in its present 
form, is one of the most attractive galleries that I 
have ever seen. It is just large enough to satisfy 
the eye without tiring, and everything has been 


158 A WANDERER AMONG PICTURES 


picked and carefully hung since 1909, when Pius X 
decreed the change. Before then the pictures had 
been distributed in various places, the Lateran Mu- 
seum amongst them; now they are co-ordinated in 
nine comfortable rooms, their principal value being 
historical, by reason of the great array of primi- 
tives, such as Martini, Memmi, Daddi, Gaddi, and 
their followers, down to Fra Angelico. Sano di 
Pietro, who delighted me in the Accademia of 
Siena, is strongly represented here; not a great 
painter, but a most entertaining illustrator. Raph- 
ael’s “Coronation of the Virgin” is here, that 
perfect example of a church painting, with lilies 
springing up in the empty tomb; and near it a ver- 
sion by two of Raphael’s young men, Giulio Ro- 
mano and Francesco Penni, in which the lilies are 
changed to a huddle of minor flowers and the glory 
goes. Among the special later works is an unfin- 
ished St. Jerome, which is confidently given to 
Leonardo. It is not for me to question it, and, in- 
deed, there are several characteristics that seem to 
amount almost to proof. Finished, it would have 
been a splendid thing, with the Saint’s lion—a real 
wild beast and not the gentle household pet that 
(as we shall see in Venice) Carpaccio makes him— 
roaring in the foreground. 


THE VILLA BORGHESE 
Rome has three civic galleries of Old Masters, 
but few treasures. ‘Two pictures, however, at the 
Villa Borghese, are among the finest in the world: 


ROME 159 


Correggio’s “Danaé” and Titian’s “Sacred and 
Profane Love,” and Rome must be visited if for 
these alone. We shall find Correggio in an in- 
spired moment at Dresden in the “Holy Night,” 
and there are two of his pagan efforts awaiting us in 
Vienna; while we saw at the Louvre his lovely 
“Mystical Marriage of St. Catherine” and at the 
National Gallery the “Cupid, Mercury. and 
Venus”; but I think that in the “Danaé” this gay- 
est of painters, this hand of almost magical accom- 
plishment, is at its best. Its liveliness amounts to 
a miracle. As for Titian’s “Sacred and Profane 
Love,” as it is called—but probably the painter 
knew it by no such name, and the two women may 
as well be portraits as symbols—the longer one 
looks at it the more entrancing it becomes and the 
more one seems to be part of the enchanted scene. 
No work of Titian’s has more of what we call the 
Giorgionesque feeling. “Not many years ago,” 
says the official catalogue, “an American millionaire 
offered for this one painting a sum considerably, 
higher than the amount paid by the Italian Gov- 
ernment for the acquisition of the Villa and the 
whole gallery.” ‘Titian’s “Venus Blindfolding 
Cupid” is also here, but the colour has perished. 
Another fine Venetian work is an imaginative scene 
by Paolo Veronese with a vast mileage behind a 
preaching monk. But after the Titian and the Cor- 
reggio, it is to see the “Chase of Diana” by Dome- 
nichino that most people come to this gallery, and 
before any painting it is to see Pauline Buonaparte 


160 A WANDERER AMONG PICTURES 


(Princess Borghese) with almost nothing on, as 
done in marble by Canova. Of all the galleries that 
are described in this series, the Villa Borghese is 
the most agreeably placed, amid the lawns and 
ilexes of the gardens on the Pincian hill that now 
bear the name of Umberto I—where the nurse- 
maids sit among their charges and young Rome has 
its riding lessons and the American Seminarists 
practise baseball. 


THE PALAZZO BARBERINI 


The Borghese collections date from the taste and 
munificence of Cardinal Scipione Borghese, born 
in 1576, whose especial favourite among the artists 
of his time was Bernini, the sculptor of certain of 
the groups of statuary in the gallery and the archi- 
tect of so much post-Michelangelo Rome. The 
Barberini pictures, lodged in the Palazzo which 
Bernini completed, were collected by Urban VIII, 
Pope from 1623 to 1644, and are now the property 
of the city, together with their magnificent home. 
There is nothing of the highest excellence, but the 
gallery has a vogue on account of Guido Reni’s fa- 
mous head which is called Beatrice Cenci but has 
been conclusively proved not to be so. I quote from 
Signor Colicci’s recent work on the Cenci story: 
“The young girl of the Barberini gallery, who leans 
her head so gracefully on her left shoulder and lets 
her brown hair stray from under her turban—the 
young girl who is looking so simply and indiffer- 
ently at some one looking at her, without a trace 


ROME 161 


of either joy or grief—this young girl is not Bea- 
trice Cenci; she is the Samian Sibyl. We say this 
for the benefit of historians and artists, inasmuch as 
we know quite well that for the general public this 
effigy will always remain that of Beatrice Cenci.” 
Recollection of the Cumzan Sibyl by Domenichino 
at the Borghese, or the Persian Sibyl in the Wallace 
Collection, should help us to accept this view. A 
good Andrea del Sarto and Diirer’s curious repre- 
sentation of the “Boy Christ among the Scribes” 
remain in the memory. 


THE PALAZZO DORIA-PAM PHILI 


More remarkable than anything at the Barberini 
is the great portrait by Velasquez in the Palazzo 
Doria-Pamphili, which is open to the public for a 
few hours twice a week. This superb picture rep- 
resents Pope Innocent X, and was painted by 
Velasquez on his second visit to Italy, to buy pic- 
tures for his royal master, in 1649-51. Sir Joshua 
Reynolds roundly called it the finest picture in 
Rome, and certainly there is none finer. The eyes 
have an extraordinary steadiness and penetration, 
and the arrangements of red could not be bolder 
or more subtle. The other famous Doria picture 
is Titian’s ‘““Herodias carrying the Head of John 
the Baptist,” but the crowds gather before Sasso- 
ferrato’s Madonna in a blue robe. I find marks in 
my catalogue against a Caracci “Pieta” and works 
by artists so dissimilar as Niccola Rondinelh, 
Claude Lorraine, and Gerard of the Night. 





t 
‘ 
1 
i 
mi 
+ 
7 





Cuapter XII: VENICE 








Photo Anderson 


POPE INNOCENT x. Velasquez 


Rome 





Photo Brogi 


THE DREAM OF S&S. URSULA. Carpaccio 
Venice 


CHAPTER XII 
VENICE 


HE central gallery of Venice is the Accademia 
on the Campo di Carita, by the iron bridge 
which unites that Campo to the Campo di S. Vitale. 
It is here, in a pretentious modern building which 
partly supersedes and partly encloses the old 
Scuola di Santa Maria della Carita, that the work 
of Venetian painters has been brought together to 
be studied in mass. 

But there are, in almost every case, finer exam- 
ples elsewhere in the city; in the Ducal Palace 
and in the Scuola di San Rocco, where Tintoretto 
is the ruling spirit; in the Frari, where Titian’s 
“Assumption” now occupies its original position 
over the high altar, moved thither from the Ac- 
cademia since the war, and his Pesaro Madonna 
may be seen, and the altar-piece by Giovanni Bel- 
lini, with the two little musicians whom all the 
world loves; in San Zaccaria, which Bellini’s even 
more glorious altar-piece has made a place of pil- 
grimage; in other churches too numerous to men- 
tion although a word must be said for the “Mar- 
riage at Cana” by Tintoretto at the Salute and for 
the “Presentation in the Temple” in the Church 


of the Madonna dell’ Orto by the same powerful 
165 


166 A WANDERER AMONG PICTURES 


hand, here softened by its theme; for San Giovanni 
Crisostomo’s Sebastiano del Piombo, with a Gior- 
gionesque glow; for the little wistful Giorgione in 
the Palazzo Giovanelli, sometimes called his “F'am- 
ily” but more probably having a classical origin; 
for the Palma Vecchio in Santa Maria Formosa 
for the Cima in San Giovanni in Bragora; for the 
Bellini triptych in San Toma; for San Sebastiano’s 
great altar-piece by Veronese; for the splendid 
Tiepolo frescoes in the Palazzo Labia; for Man- 
tegna’s “San Sebastiano” in the Ca d’Oro; and 
lastly for the tiny Church of San Giorgio degli 
Schiavoni, with its romantic and amusing 
Carpaccios. 


THE ACCADEMIA 


The name of Carpaccio brings us back to the 
Accademia, the true subject of these remarks, be- 
cause it is, I assume, the Carpaccio room there, 
in which the story of St. Ursula is told in a series 
of paintings full of rich colour and delicate and 
dramatic thoughtfulness, that is its chief, or at any 
rate its most popular, possession. Vittore Car- 
paccio, a rare painter, was a Venetian, born prob- 
ably in 1465, who lived until 1522. He is variously 
said to have been the pupil of Lazzaro Bastiani and 
of Gentile Bellini, the elder brother of Giovanni 
Bellini. 

The legend of St. Ursula has many variants, but 
taking a central line through them it may be said 
to tell how that Royal virgin, the daughter of Deon- 


VENICE 167 


otus, a King in Britain, was asked in marriage by 
a pagan prince. An angel, in a dream, bade her 
postpone the ceremony for three years, and mean- 
while collect a band of fellow-virgins, convert them 
to Christianity, and devote the interval to a pil- 
grimage and to holy works. They sailed, eleven 
thousand strong, and in time came to Cologne, 
where they disembarked. ‘They then seem to have 
walked to Rome and back, and on their return to 
Cologne they were massacred by the Huns. This 
version is far too compact and swift for Carpaccio, 
who has added a host of details, including royal 
ambassadors and all kinds of little human touches. 
The best-known picture of the series, which, in 
coloured reproduction, hangs in myriad English 
homes (where, however, St. Ursula has probably 
never been claimed as a compatriot), is that in 
which we see her in her bedroom dreaming of the 
angel, with her slippers under the four-poster and 
her feet under the bedclothes making a little hillock, 
and her books and writing-desk, her crown, and her 
funny little lap-dog. 

Next to the Carpaccios, or perhaps before them, 
might be placed the series of Giovanni Bellini’s 
Madonnas, some of them so curiously modern. 
There is nothing finer here than our own portrait 
of the Doge Leonardo Loredano; nothing so dra- 
matic and moving as “The Agony in the Garden” 
and “The Death of S. Peter, Martyr,” also in 
Trafalgar-square, where we are rich indeed in this 
master’s work: but Venice has the “Madonna with 


168 A WANDERER AMONG PICTURES 


the Magdalen and S. Catherine,” that very beauti- 
ful, serene thing, and also the little gay, golden 
allegories from a cassone lid, where the artist has 
a double appeal, for we see him as himself rejoicing 
in his colour and fancy, and we see him also as the 
master of those two Venetians who brought colour 
and its rapture to their highest power—Titian and 
Giorgione, with a foretaste of Burne-Jones. 

But before passing to those Venetian colleagues 
and rivals, a word more should be said of the family 
of painters of which Giovanni Bellini is the most 
famous. The father was Jacopo Bellini, born in 
1400, who, as I remarked in the article on the Uffizi, 
was a pupil of that most delightful early master 
Gentile da Fabriano, and in 1422 accompanied him 
to Florence, where he came under the influence also 
of Uccello, Masaccio, and Donatello the sculptor. 
In 1429 he was in Venice again, there—except for 
occasional visits to other cities to execute commis- 
sions—to remain. Jacopo claims attention because 
he was the father not only of Gentile and Giovanni 
Bellini, but of the Venetian School as we under- 
stand the phrase; London is the possessor of his 
principal sketch-book, now at the British Museum, 
bequeathed by him to his son Gentile, and by Gen- 
tile to his brother Giovanni, in which it is simple 
to trace his influence not only on his two sons, but 
on his son-in-law Andrea Mantegna, of Padua. 

Jacopo died in 1470 or 1471. His elder son Gen- 
tile was born in 1429 and was one of the first Vene- 
tian artists to substitute oil for tempera, the secret 


VENICE 169 


of oil painting having been brought to Italy from 
the Netherlands by Antonello da Messina in the 
1460’s. Much of Gentile’s most important work 
was destroyed by fire, but the Accademia has some 
elaborate and entertaining pictures of ecclesiastical 
pageantry which lend support to the theory that 
he taught Carpaccio. Giovanni Bellini, born in 
1430, we know to have had many pupils, among 
them, in addition to Giorgione and Titian, Cima, 
Basaiti, Bissolo, Catena, Lorenzo Lotto, and Se- 
bastiano del Piombo. In his early work Giovanni 
Bellini is often very like his brother-in-law Man- 
tegna; but later he became more sensuous—more, 
as we should say, Venetian. It is an interesting 
fact that Albert Diirer, who visited Italy more 
than once, was the personal friend of both these 
painters. Finally, I should say of Giovanni Bel- 
lini that he was an innovator (probably through 
Antonello, who had seen the little pictures of the 
north) in the shape as well as the subject of pic- 
tures. Before his day most painting was done 
either for the Church or of it; but Bellini made 
pictures for wealthy and even irreligious Venetians’ 
walls. 

Venice is rich in Titian’s work, but Giorgione is 
so rare a painter that not even in his own city’s gal- 
lery is he represented. Two other Venetians are 
either not represented at the Accademia or very 
poorly: Antonello da Messina (middle of fifteenth 
century ), whose little “Crucifixion” is one of Lon- 
don’s most cherished possessions, and Carlo Crivelli 


170 A WANDERER AMONG PICTURES 


(second half of fifteenth century), in whose curious 
decorative work the National Gallery is so unex- 
pectedly wealthy. 

For Titian the Accademia is not perhaps the 
best place; but his pathetic last work is here, the 
“Pieta,” which he meant for his tomb. One can 
see that the hand was weak—Titian was then 
eighty-nine—but the feeling is simpler and more 
sincere than in many of the pictures of his prime. 
The other great Titian is the “Presentation of the 
Virgin” on the very wall of one of the remaining 
old rooms—the strangers’ room of the brotherhood 
—for which it was painted. This was the Titian of 
1539, when he was fifty-two. 

The two other masters who are to be seen at the 
Accademia almost if not quite at their best are 
Tintoretto and Paolo Veronese, whose great and 
splendid composition “The Feast in the House of 
Levi” occupies a whole wall. We saw something 
very like it in the Salon Carré of the Louvre, but 
I think this is finer. Whether either can be called 
a religious picture is a question; they are certainly 
magnificent. Tintoretto is not found at the Ac- 
cademia in so superb and magical a mood as that 
in which he created “The Origin of the Milky 
Way” in the National Gallery; but he never painted 
anything more dramatic than “The Miracle of St. 
Mark,” where the most violent and emotional ac- 
tion is suddenly arrested and made plausible for all 
time. If art should deal with quiescence, this pic- 
ture is all wrong; but if a mighty Venetian painter 


VENICE 171 


should be allowed to have his own way, it is amaz- 
ingly right. 

I have mentioned some of the outstanding treas- 
ures of the Accademia, but its chief value to the 
student is its sequence of Venetian art from the 
fourteenth century onwards, from Lorenzo Vene- 
ziano through the Vivarini and Jacobello del Fiore 
to the Bellini, father and sons, to Carpaccio and 
Cima (1459-1518), and so to the gorgeous period 
of Titian (1487-1576), Giorgione (1477-1510), 
Tintoretto (1518-94), Palma Vecchio (1480-1528), 
Lotto (1480-1556), Bonifazio dei Pitati (1487- 
1553), Paris Bordone (1500-71) down to the last 
of the great men, that most interesting anachron- 
ism, Gian Battista Tiepolo (1696-1770). With 
Tiepolo the great strain died out. But much ac- 
complishment was left, to be seen in the water-pieces 
of Canaletto (1697-1768) and Guardi (1712-93), 
and the masquerades of Pietro Longhi (1702-85), 
whose work, however, is better placed in the Museo 
Civico, now lodged in the Royal Palace. 





Photo Naya 


MADONNA AND SLEEPING CHILD. Giovanni Bellini 
Venice 





Photo Hanfstaengl 


THE THREE MAGI. Giorgione 
Vienna 





Photo Hanfstaengl 


CUPID SHAPING HIs Bow. Parmigianino 
Vienna 


puuara 
poysnoig “ANAHOS WHOUNIM 





Cuartrre XIII: VIENNA 


ve 


¥ 





CuHarTer XIIT 
VIENNA 


HE Art-History Museum—Kunsthistorisches 
Hof Museum—of Vienna is one of the hand- 
some twin buildings in the Maria Theresa Platz, 
opposite the Hof Burg, or Royal Palace. On the 
right is the Natural History Museum; on the left 
the Art-History. Like all the Viennese public in- 
stitutions, they are on the grand scale. The Art- 
History Museum as a whole is comparable with 
the Louvre, for it takes note also of sculpture, 
jewels, and Egyptian antiquities. Our concern is 
solely with the picture gallery, the principal con- 
tents of which used to be lodged in the Upper Bel- 
vedere in the gardens of the Belvedere Palace, the 
old summer residence of the Emperor. 

We saw at the Prado to what good purpose 
Charles V had collected; the nucleus of the Vien- 
nese gallery was formed by Charles’s brother, 
Ferdinand I, who succeeded as Roman Emperor 
when Charles abdicated and passed into eremitical 
retirement with his Titians. Charles’s pictures were 
left to his son Philip; Ferdinand’s in part to his 
eldest son Maximilian, who succeeded him as Em- 
peror, and in part to his second son the Archduke 


Ferdinand of Tirol. Maximilian made Vienna 
175 


176 A WANDERER AMONG PICTURES 


his home and himself bought pictures; the other 
two portions of the collection left the city, but came 
back to it many years later. In 1889 the final fu- 
sion occurred, and in 1891 the present building was 
ready for them. 

Since we left Spain we have had an almost com- 
plete holiday from Rubens; but in Vienna he is 
himself again, not only at the Art-History Mu- 
seum, but at Prince Liechtenstein’s; and here, too, 
is Van Dyck beside him, providing the usual leaven 
of austerity. If, however, the curator were asked 
to declare his trump cards he would, I imagine, 
pass over Rubens and even Titian and Rembrandt 
and name Giorgione’s “Three Magi” and the set 
of Old Brueghels. Not that the Old Brueghels are 
superior to the many Titians or the Rembrandts; 
but these masters can be seen elsewhere, while not 
even in Belgium are there such Brueghels as these. 
But the curator would probably have some search- 
ings of conscience as he dismissed those others, not 
to mention Diirer’s “Trinity” and Correggio’s 
“To,” and Lorenzo Lotto’s ““Youth’s Head” and 
Parmigianino’s “Cupid,” that almost dazzling 
achievement. 

The Venetians are in the rooms at the head of 
the staircase. Titian is here not only in some of his 
most golden moments, but also when most like his 
master, Giovanni Bellini, as in the “Gipsy Ma- 
donna” and the “Madonna with the Cherries,” but 
far beyond Bellini in power. Here is that most 
dramatic of his works, the ““Ecce Homo,” and, so 


VIENNA 177 


different, the “Child with the Tambourine.” And 
some of his finest portraits, too. 'Tintoretto’s por- 
trait of Sebastiano Veniero, the admiral, with his 
ancient element seen through the window, is mag- 
nificent. Among the other colourists are Lotto 
with a lovely “Holy Family” and the famous and 
very modern portrait of the young man in black 
against a curtain edged with green; and Palma 
Vecchio, Schiavone and Paris Bordone. But it is 
to Giorgione’s “Three Magi” (who may equally, 
even more probably, be Three Grecian Philoso- 
phers) that one returns again and again, for it 
has a separate quality of sweetness, and some of that 
melancholy beauty which pervades a serene sunset. 
We shall find later Old Brueghel setting his black 
trunks unforgettably against a winter sky; here 
Giorgione also unforgettably, but with tenderness, 
sets his more delicate trees and foliage against the 
warmer hues of summer. Bellini, Giorgione’s mas- 
ter as well as Titian’s, is near by, with a beautiful 
pagan scene which contains the promise of botb 
pupils. The other great Venetian—more strictly 
Brescian—here is Moretto, with his sumptuous “St. 
Justina.” 

Crossing the landing we come to a room of Van 
Dycks, both portraits and subject pieces, with an- 
other of his superb Men in Armour, and another of 
his versions of the Princess of Orange; and next are 
rooms in which Rubens flaunts his power, both as 
a painter for pagans and for the Church. His im- 
mense “Festival of Venus” is here, the river gods, 


173 A WANDERER AMONG PICTURES 


his “St. Ignatius casting out devils,” the brilliant 
sketch for which is elsewhere in the gallery, and his 
“St, Ambrose forbidding the Emperor Theodosius 
to enter”; while among the portraits is one of Maxi- 
milian I, who helped to form the collection, and 
another of Héléne Fourment, the painter’s second 
wife, caught emerging from the bath with her cloak 
not more scrupulously covering her than the artist 
would wish. 'To complete his variety we have a 
landscape in a thunderstorm. The faithful Jor- 
daens is also here, with another treatment of his 
favourite subject (we saw one in the Louvre) “The 
Drinking King.” 

In the early Netherlands masters the gallery is 
rich, too: particularly the work of Joost van Cleve, 
with his paint, as usual, in such a perfect condition; 
Barend van Orley; Jan Scorel; Mabuse, with St. 
Luke painting the Virgin and Child and the angel 
guiding his hand, a very fine version of this favour- 
ite theme; Jacob Cornelisz, with a very warmly 
coloured triptych; Roger van der Weyden, with a 
tiny but exquisite Madonna; Jan van Kyck’s mem- 
orable portrait of Cardinal della Croce; altar- 
pieces by Memling; Gerard David’s “Adoration,” 
with the Child’s body diffusing light; a “Baptism” 
by Patinir; a double portrait by Hugo van der 
Goes, and two little Stations of the Cross, with ex- 
quisite lighting, by Juan de Flandres—in fact, a 
marvellous foretaste of what we are to find in Brus- 
sels and Antwerp. 

Next, isolated on screens of honour, is the famous 


VIENNA 179 


series of pictures by that most modern and idiosyn- 
cratic of the Flemings, Pieter Brueghel, called 
variously Old Brueghel, Peasant Brueghel, and 
Brueghel the Droll, who flourished in the middle 
of the sixteenth century and every day now is ex~ 
citing more interest. We saw something by him 
at the Louvre, and we shall find him again in Bel- 
gium, but to see him at his best it is necessary to 
go to Vienna. In England we know him chiefly 
through reproductions. At the National Gallery 
is his “Adoration of the Magi,” but, good though 
that is, 1t is not of the first quality, and in spirit 
is to many people distasteful, for in very few rep- 
resentations of that event has such a vein of satire, 
or at any rate sardonic humour, been let loose. But 
in Vienna there is the famous winter landscape with 
its bare trees, which their painter handled with such 
truth and with an almost Japanese sense of deco- 
rative inevitableness. As it happened, two Japa- 
nese youths were in the Brueghel room on one of 
my visits, and judging by the excited tone of their 
conversation—for I could not follow it—they were 
filled with enthusiasm, not only for the winter land- 
scape, but for the marriage feast too, with its ver- 
milions and yellows so adroitly placed; while when 
they reached the picture of the village school out 
for a few minutes’ play they gurgled with rapture. 

Apart from his force as a colourist his originality 
in selecting subjects to paint, and his sense of com- 
position, Brueghel is remarkable for his realism. 
The only artist with whom I can compare him as a 


180 A WANDERER AMONG PICTURES 


consistent and relentless delineator of people as 
they are is Mr. George Morrow. 

In addition to these pictures there is the moving 
scene of Christ on the way to Calvary: of course, 
a Flemish scene, for that was Old Brueghel’s way 
—but not the less vivid and absorbing for that— 
the motto of which might be “In the midst of death 
we are in life.” Now and then among so much that 
is homely or even coarse, we find a figure of extraor- 
dinary refinement. There is also the heroic effort 
to present the Tower of Babel, where is depicted a 
new world filled with buildings that every architect 
should study. 

We now come to the “Trinity” of Diirer, one of 
the chief treasures here: a marvellous piece of elabo- 
ration, like a Fra Angelico sophisticated. A “Ma- 
donna and Child,” near by, also by Diirer, gives 
me more pleasure. Other German masters follow, 
including Holbein, with portraits of Jane Seymour 
the Queen and John Chambers the doctor, and some 
of the early men, including the too realistic Michael 
Pacher; and then to one’s surprise, behold a golden 
Reynolds, and an astonishing Hogarth that seems 
to have most of Raeburn in it, a Gainsborough land- 
scape, and a Zoffany! Not since Sir John Lavery’s 
self-portrait at the Pitti have we seen an English 
hand. The Spanish room is unexpected too, with 
a vase cf flowers in one of the Velasquez portraits 
(the little Infanta Margarita Theresa) from which 
it is difficult to tear the eyes away. 

There is also a head of Philip II, very like the 





Photo Hanfstaengl 


MARIA LOUISA DE Tassis. Wan Dyck 
Liechtenstein, Vienna 





Photo Hanfstaengl 


THE PAINTER AND HIS WIFE, ISABELLA BRANT. Rubens 
Munich 


VIENNA 181 


one in the National Gallery, and an interesting fam- 
ily group by Velasquez’s son-in-law, Del Mazo. A 
good Coello, too. 

I pass over the Neapolitan and late Italian paint- 
ers and come to the Correggios: the “Io” and the 
“Ganymede,” so confident, so pagan, and so volup- 
tuous. The “Io,” indeed, might be the work, save 
for its quality, of a Paris Salon exhibitor, with its 
shadowy lover’s mouth kissing from the clouds. 
With these pictures I should name again the Par- 
migianino, “Cupid shaping his Bow.” If there is 
a more brilliantly vivacious work than this any- 
where, I should like to see it. Bronzino’s portrait 
group with the curious boys should be mentioned 
too, and, lastly, before we leave Italy for Holland, 
the very beautiful Raphael, the “Madonna al 
Verde,” with its memories of Leonardo; the Peru- 
-ginos; and Fra Bartolommeo’s great work, the 
“Presentation in the Temple.” __ 

The Dutch cabinets provide another of those sur- 
prises of which I spoke in the opening chapter. We 
know what London has of Dutch art, in public 
galleries—at the National Gallery and the Wallace 
—as well as privately (Sir Otto Beit, for example, 
in Belgrave-square, with two Vermeers and per- 
haps the best Metsu in existence); we saw the 
Dutch rooms at the Louvre; we saw the few but re- 
markable examples at the Uffizi. With Vienna 
begins a steady series of masterpieces of the Dutch 
School which will continue into Holland and Bel- 
gium. I cannot do more than name a few of the 


182 A WANDERER AMONG PICTURES 


outstanding works. In one of the cabinets there 
are no fewer than eight Rembrandts, including the 
beautiful portrait of his son Titus reading. Nota- 
ble are Peter de Hooch; Terburg at his best; Km- 
manuel de Witte, not better than at the National 
Gallery, but perfect; Jan van der Capelle; Van 
Goyen; Salomon Ruisdael; Jan Steen; Brouwer, 
and Robert van den Hoekker. The miracle is not 
that they are here, but that they are everywhere; 
always conscientious, always painting with the best 
paint, always suggesting labour and the love of 
labour, always giving pleasure to the eye. 

The following passage which I cut from The Ob- 
server while this book was being printed, illustrates 
the difficulty—more, the impossibility—of ever be- 
ing absolutely up to date with a work of this kind. 
It is a communication from the paper’s Vienna 
correspondent :— 

“The director of the Museum of Historie Art, 
Dr. Gliick, and his colleagues are exhibiting at the 
Kiinstlerhaus many invaluable old masters, just 
acquired, not by money, which the Government can- 
not afford, but by exchange, donation from private 
sources, bequest, and the searching of old stores. 
No fewer than sixty works thus brought together 
in the course of the last few years are shown. 

“Perhaps the three finest are a work by Albrecht 
Diirer, so far unknown, of a young Venetian 
woman, signed and dated 1505, and painted, with- 
out doubt, during his stay in Venice; a newly- 
discovered Velasquez from 1659, representing the 


VIENNA ? 183 


Infanta Margarita Theresa, the wife of Emperor 
Leopold I, which was thought to have been lost; and 
“The Scourging of Christ,’ by Tintoretto, a speci- 
men of his late period, magnificent in colouring and 
rather robust in movement. One of the best of the 
other Italians is Jacopo Bassano, represented by a 
capital “Carrying of the Cross.’ Young Rubens 
is represented by a portrait of the Archduke Al- 
bert, and in a few days that of his wife, Isabella 
Eugenia, will also be exhibited. 

“There is a remarkable work by Jacob Jordaens, 
showing the three nude daughters of Cecrops (three 
Antwerp ladies having served as models). Con- 
spicuous by its dark colouring and effects of light 
is a ‘Circumcision of Christ’ by Aert de Gelder, a 
pupil of Rembrandt; while Martin Heemskerck’s 
_ characteristic picture of Vulcan, Mars, and Venus 
leaves a rather brutal impression. The portrait of 
a lady by Lucas Cranach the elder, from whose 
brush four works are exhibited, was probably 
painted during his sojourn in Vienna. The Old 
Austrian School of the fifteenth and sixteenth cen- 
turies is represented by a number of remarkable 
paintings. Works by Wolf Huber, Altdorfer, 
Hieronymos Bosch, Baldung Grein, and Salomon 
Ruisdael complete the collection; and I must not 
conclude without mentioning the beautiful self-por- 
trait by Goya—one of the gems of the new col- 
lection.” 

The Liechtenstein Collection must be seen by all 
visitors to Vienna, if only for the two most popular 


184 A WANDERER AMONG PICTURES 


pictures: Van Dyck’s Marie Louise von Tassis, 
which is perhaps his most beautiful portrait of a 
woman, and Rubens’ portrait of his two sons. The 
light is bad, for the rooms were not constructed for 
the purpose to which they are put; and on the top 
floor, where the Dutch pictures and the famous 
Chardins are, it practically dies at the windows, so 
that a visit is little more than a tantalisation. The 
Chardins are “The Cook” and “The Departure for 
School,” both delicious and not to be compared with 
any other painter’s work. There are too many ordi- 
nary Dutch pictures, but a valuable little collection 
could be excavated from them. 

Downstairs, in the principal rooms, are the mas- 
terpieces, which include the series of designs made 
by Rubens and Van Dyck for tapestry represent- 
ing deeds in the life of Decius Mus. The Rem- 
brandts, one of which is the self-portrait with the 
feather, and another, the woman with the pearls, are 
very fine. There is the full-length portrait of Wil- 
lem van Heythuysen, a magnificent fellow, by 
Frans Hals, which used to be known as the “Man 
with a Sword.” ‘There is Rubens’ sketch of a 
child’s head, probably one of his sons. There are 
several more Van Dycks. Indeed, for Rubens and 
Van Dyck alone the Liechtenstein Gallery has to 
be visited. For the rest, there is the head known 
as Ginevra dei Benci, to which the mighty name of 
Leonardo da Vinci is given, sometimes by critics 
and always by the publishers of picture post-cards; 
there is Andrea del Sarto’s “John the Baptist,” a 


VIENNA 185 


very attractive work; there is a typical Botticelli; 
a very fine Moroni portrait, and one of the best 
Guido Renis that I have seen, an Adoration, a per- 
fect altar-piece for children. ‘Two other of the 
later Italian masters, whom I do not seek too 
eagerly, are also well represented: Sassoferrato and 
Caravaggio. 

The Liechtenstein treasures have their palace; 
but Count Czernin’s Vermeer is in a flat, behind 
one of those immense public buildings of which Vi- 
enna has a greater supply than any other city, or 
seems to have: in this case, the Rathaus. The Ver- 
meer is that one which is called “The Artist in his 
Studio,” but as only his back is seen it might equally 
be not Vermeer but another. The girl, however, 
is obviously the same girl that Vermeer painted 
more than once, probably one of his daughters. The 
picture is a marvel of dexterity, but I found that 
it did not give me such a thrill as other and simpler 
works from this mysterious hand. Much of it, 
however, is so accomplished as to merit the word 
magical once more. 





CHapter XIV: MUNICH 





CHAPTER XIV 
MUNICH 


UNICH has its National Gallery and its 
Tate close together, in the shape of the Old 
Pinakothek and the New Pinakothek. My con- 
cern at this time being only with the Old Masters, 
I will merely say of the New Pinakothek that it 
was an agreeable surprise to come to the room 
where the Lenbach portraits are now assembled and 
to find how well they wear. The Bismarck seems 
to have grown more massive, and there is an old 
lady that might almost be from Rembrandt’s own 
hand. 

‘The Old Pinakothek was built for a picture gal- 
lery in the eighteen-twenties and -thirties by that 
munificent prince and friend of the arts Ludwig I, 
and the pictures within it are chiefly of Royal de- 
scent. An early Bavarian prince, Johann, em- 
ployed Jan Van Eyck to paint for him from 1422 
to 1424, but nothing remains of that period, all 
being lost under Johann’s successor, Ludwig V. 
Wilhelm IV, who died in 1550, was a patron of the 
arts, but the first collector to make a gallery was 
his successor Albrecht V (1550-79), and many of 
the Old Pinakothek pictures are his. Maximilian 
the Great (1573-1631) had a real taste for paint- 

189 


199 A WANDERER AMONG PICTURES 


ing, and bought Diirers, Holbeins, and Rubenses, 
but war interfered and made the gratification of 
such a hobby impossible. His successor, Ferdinand 
Maria (1651-79) also encouraged the arts, but pre- 
ferred those of Italy. 

The true father of the Old Pinakothek was Ferdi- 
nand Maria’s son, Maximilian II Emanuel (1679- 
1726), with whom the acquisition of pictures, 
regardless equally of their cost or of his means to 
discharge it, was a passion. In the first year of his 
reign a new castle had to be built to accommodate 
his purchases, while in his capacity as Stadtholder 
of the Netherlands he was subjected to picture-buy- 
ing temptations which he made not the slightest at- 
tempt to resist. At one blow, in 1698, he bought 
one hundred and five pictures by Rubens, Van 
Dyck, and other of the great Northerners, which 
his successor had to pay for. Many are in Munich 
still, but some he gave away or sold. ‘The Duke 
of Marlborough, for instance, bought from him the 
great “Charles I on Horseback,” which is now in 
the London National Gallery. 

The next royal amateur was the Elector Pala- 
tine Charles Theodore, to whom the succession 
passed on the death of Maximilian III Joseph in 
1777, and who was the founder of the Diisseldorf 
Academy. He showed little interest in Bavaria, 
but transferred to Munich the Mannheim collection 
formed by the Elector Charles Philip, while his 
successor Maximilian IV Joseph brought to the 
city the Zweibriicken pictures, 2000 in number. In 


MUNICH 191 


1795 the French entered Munich, under General 
Moreau, by whom the galleries were despoiled, both 
in his own interests and those of France; but some 
of the missing works were brought back after the 
peace of 1815, while the famous Diisseldorf collec- 
tion was transferred by Napoleon to Munich in 
1805. And then came Ludwig I to build the pres- 
ent gallery, to organise and arrange, and to add 
the remarkable collection of altar-pieces which the 
brothers Boisserée saved from the spoliation of the 
Cologne convents in 1805-10 after their suppression 
by Napoleon. These paintings give Munich a very 
special place in art. 

The Munich gallery, like that of Vienna and the 
Louvre, is divided into big rooms and cabinets—a 
Continental custom which, though useful for the 
disposition of the smaller pictures, makes it difficult 
to get quickly a clear view of the true wealth of a 
collection. For instance, if one is to study each 
school in turn, one must be continually moving from 
the big room of that school to its cabinet dependen- 
cies. I have mentioned the early Germans, in 
Rooms II and III. In Cabinets I and II are 
more: works by Stephan Lochner, by the “Master 
of the Life of the Virgin,” the “Master of Lies- 
born,” the “Master of the Perle von Brabant” (a 
most delightful triptych), and so forth. Here the 
Munich gallery is rich indeed, and naturally in the 
later German masters too, such as Altdorfer, Hans 
Baldung Grein, Martin Schongauer, and Holbein 
with an exquisite miniature. And so on with the 


192 A WANDERER AMONG PICTURES 


other schools. Rubens and Van Dyck, for example, 
in addition to their large canvases in Rooms VI and 
VII, have a number of smaller works in Cabinets 
XII and XIII, including Rubens’ “Sleeping 
Diana” in a landscape by Jan Brueghel and Van 
Dyck’s beautiful portrait of Georg Petel. Rubens’ 
sketches for the Marie de Médicis series in the 
Louvre are preserved in the Munich gallery, and 
one can see in them, almost as convincingly as any- 
where, what a daring and dashing hand was his in 
its first thoughts. 

We come at once, at the top of the many steps, 
to the great Flemings: Roger van der Weyden, 
with St. Luke at work on the portrait of the Ma- 
donna; Gerard David; Dirk Bouts; and a great 
and masterly Memling, a synthetic life of Christ. 
Then a room of early German altar-pieces, some 
very grisly in their realism; others, such as that by 
“he Master of the Death of the Virgin,” very 
sweet and simple and full of intimate touches. The 
glory of the next room is Diirer, with his famous 
Peter and Paul, so rich and gracious. 

In the Dutch rooms we find Rembrandt’s “Abra- 
ham and Isaac,” and the portrait of Sylvius on loan 
from the Carstanjen collection: but finer Rem- 
brandts are awaiting us in one of the cabinets, nota- 
bly a marvellous “Descent from the Cross.” A 
better Halls, also on loan, than the big sketchy group 
that hangs here, also awaits us: a “Fish Girl”; and | 
there is, also in one of the little rooms, his rugged 
minute portrait of Willem Croes. A night sea- 


MUNICH 193 


piece by Cuyp has great beauty, not the less so 
because so many of its neighbouring canvases are 
huge hunting scenes and bulging larders. Bol and 
Maes have each two good portraits here. 

With Rooms V and VI we are with the mighty 
Rubens again. Every phase of his energy is repre- 
sented, from the “Last Judgment,” as big as a 
tennis-lawn, to the portrait of himself with his first 
wife Isabella Brant; from the “Landscape with 
Rainbow” to the “Drunken Silenus”’; from the por- 
trait of Dr. Van Thulden to the “Lion Hunt.” 
Not the least interesting of the portraits are those 
of Philip IV, who otherwise was pledged as a sitter 
to Velasquez alone, and of Isabella, which Rubens 
painted when he was on his political mission to 
Spain in 1628 and Velasquez was appointed by the 
King to make him comfortable. Here also is a 
brilliant Jordaens: “The Satyr in the Peasants’ 
Home,” the story illustrated being Ausop’s fable 
which runs thus: “A man and a satyr once poured 
out libations together in token of a bond of alliance 
being formed between them. One very cold wintry 
day, as they talked together, the man put his fingers 
to his mouth and blew on them. On the satyr in- 
quiring the reason of this, he told him that he did 
it to warm his hands, they were so cold. Later on 
in the day they sat down to eat, the food prepared 
being quite scalding. ‘The man raised one of the 
dishes a httle towards his mouth, and blew in it. 
On the satyr again inquiring the reason of this, he 
said that he did it to cool the meat, it was so hot. 


194 A WANDERER AMONG PICTURES 


‘I can no longer consider you as a friend,’ said the 
satyr: ‘a fellow who with the same breath blows 
hot and cold! ” 

After the heat and exuberance of Rubens it is 
pleasant to come, as one nearly always is able to 
do in every important gallery, to the cool reserves 
of Van Dyck; and he is at his best in Munich, both 
as a portrait painter and as a painter of religious 
scenes. ‘There is no portrait more distinguished 
than our own “Van der Geest,” but there are many 
more than we possess, and the Holy Family resting 
is a very beautiful work. Perhaps one remains 
longest before the portrait of poor Lady Mary 
Ruthven playing the ’cello, so charming and wistful 
is she. ‘This was the lady whom, rather to lure 
him from others, chiefly the dangerous Margaret 
Lemon, Van Dyck’s friends induced him to pro- 
pose to and marry; but little happiness was the 
result, and the painter nearly had his right hand 
destroyed as a mark of the avenging Lemon’s 
jealousy. 

When it comes to the Tuscans and Umbrians we 
can easily hold our own with Munich. Indeed, 
Munich is poor, its chief treasures in the large 
Italian rooms being the two Raphaels; chief of 
them the Canigiani “Holy Family,” which for all 
its placid sweetness would be more pleasing if it 
were not for the features of St. Anne; Andrea del 
Sarto’s “Holy Family,” and a very fine Perugino, 
“The Virgin appearing to St. Bernard.” I noticed 
also interesting examples of Francia, Raffaello del 


MUNICH 195 


Garbo, and Liberale da Verona. But in the Vene- 
tians the gallery is stronger. It has a series of 
battle pieces by Tintoretto, depicting events in the 
history of the Gonzaga family, which ought to be 
better hung; as it is, they are skied. 

Before we begin on the cabinets we come to a 
room of odds and ends that is very interesting. Two 
very fine Tiepolos, one of them on loan: an astonish- 
ing Guardi, a gala concert in Venice with an or- 
chestra of women fiddling for their lives, and a 
candelabrum painted as though by Mr. Sargent; 
a superb Chardin; a classical scene in Italy, by that 
other and earlier J. F. Millet (1642-79) ; a variety 
of French portraits; a still life by Desportes; 
Goya’s amazing portrait of Luisa Queen of Spain, 
a masterpiece both of characterization and paint; 
a Spanish girl of unearthly pallor, in a veil and 
green cloak, by El Greco, on loan; Velasquez’s por- 
trait of himself, and, even better, his portrait of a 
young man. ‘Murillo is here, too, with some Seville 
street urchins. Miscellaneous rooms can always be 
very diverting, and this is one of the best; and it 
divides the main rooms and the little cabinets very 
acceptably. 

In Room XI are French pictures, notably Pous- 
sins and Claudes; of the Poussins the “Apollo and 
Daphne” and the “Bewailing Christ” particularly 
remain in the memory. (Elsewhere, placed among 
the Dutchmen, is an arresting picture by Louis Le 
Nain: a painter at work on a woman’s portrait.) 

Room XII is Venetian, the glory of which is 


196 A WANDERER AMONG PICTURES 


Titian, whose whole range is represented. Most 
beautiful is a Giorgionesque “Madonna and Child,” 
but the portrait of a man (probably Aretino) is 
superb. Both are from the Diisseldorf collection. 
Perhaps the most interesting is the portrait of 
Charles V, whom we saw on horseback, and also 
in the presence of God the Father, the Madonna 
and Child, painted by the same hand, at the Prado. 
Here the Emperor is seated in his chair, in a velvet 
cap, with a landscape seen through the loggia pil- 
lars. Repainting is suspected, and Rubens has even 
been named as having touched up the landscape; 
but the picture has a great air of authority. Charles 
is said to have remarked that his natural ugliness 
was usually increased by artists, and therefore it 
gave him a pull with strangers if they had seen one 
of his portraits before they saw him! ‘Titian’s work 
is dated 1548, when the painter was seventy-one. 
He had first painted Charles V in Bologna sixteen 
years before; the Munich portrait was done at 
Augsburg. Among the finest Venetian pictures 1s 
a bearded Venetian by Paris Bordone; and there 
are good examples of Moretto and Lotto. 

In Cabinets XVII-XX we find the Venetians 
and other Italian painters again: a good Cima, a 
good Veronese “Adoration,” a head by Piombo, 
Raphael’s “‘Tempi Madonna,” a Franciabigio with 
interesting colour, and a very beautiful Antonello 
da Messina. | 

For other Rembrandts—a series of six represen- 
tations of the Passion, together with the marvellous 





Photo Hanfstaengl 


REST IN THE FLIGHT TO EGYPT. Van Dyck 
Munich 


Photo Hanfstaengl 


THE DESCENT FROM THE CROSS. Ren brandt 
Munich 





MUNICH 197 


*“Descent from the Cross,” which I have mentioned 
—and for scores and scores of Dutch painters at 
their best, we must resort to the little rooms. After 
the Rembrandts in Cabinet VIII, which alone 
would make Munich a necessary resort of all stu- 
dents of painting, the chief Dutch possessions are 
the Adriaen Brouwers in Cabinet XV, the largest 
assemblage of this rare master that I have seen. 
To my mind Brouwer is more distinguished than 
Teniers and even than Ostade, although Ostade at 
his finest is very near him. The Munich pictures 
are all of a piece—a peasant or so, in blue or green 
coat, in a tavern, with a dark background, but each 
is a masterpiece. There is nothing big and poetical 
like the “Landscape with Tobias and the Angel’ in 
the London National Gallery, while one has to go 
to the Louvre to see a work that supplies any evi- 
dence that Brouwer was Frans Hals’ pupil—‘‘The 
Smoker.” But the Munich tavern series is priceless. 

Among the very remarkable Dutch pictures I 
noted a very good Aert van der Neer quite in the 
Barbizon manner. I found also, as I always do 
among the Dutch rooms in these galleries, a name 
new to me, L. de Vadder, beneath another land- 
scape of curious modernity. On looking up refer- 
ences I find de Vadder to have lived and worked in 
Brussels from 1605 to 1655. 


CHaPprern XV: DRESDEN 








CHAPTER XV 
DRESDEN 


HE Dresden collection, which is housed in a 
stately building designed for it in the middle 
of the last century, owes its existence to Augustus 
I (1526-86), but its eminence to Augustus III 
(1696-1763), Elector of Saxony and King of 
Poland. In 1745 Augustus III made an offer to 
Francis III, Duke of Modena, which that prince 
could not refuse, and he thus became owner of the 
cream of the Duke’s pictures, including the works 
of the Parmesan school, while, eight years later, he 
managed to induce the Benedictine monks of San 
Sisto, Piacenza, to sell him Raphael’s most famous 
‘Madonna, the “Sistine.” 

This work, still the apple of the eye of the gal- 
lery, has a little room all to itself, with benches for 
the devout. But it is possible to be equally if not 
more thrilled by the Correggios, which include the 
“Holy Night”; by Titan’s “Tribute Money”; by 
Holbein’s portrait of the Sieur de Morette; and by 
the little Van Eyck triptych. 

This is not to say anything slighting of Raphael, 
whose calm, assured perfection was never more 
evident. It is, indeed, possible that the picture suf- 


fers from its very popularity, the memory of a mil- 
201 


202 A WANDERER AMONG PICTURES 


lion reproductions of it having over-familiarised 
the eye, not to the point of contempt but of com- 
parative indifference. ‘To find it so large may be 
the surprise. It is one of the many pictures which, 
as one progresses through the galleries—all the gal- 
leries except those of Holland—demand an altar 
beneath them, but have lost that association prob- 
ably for ever. ‘The picture was painted for the 
Benedictine church of San Sisto at Piacenza when 
Raphael was about thirty-two, and it remained in 
its proper sacred position for more than two hun- 
dred years, until, in 1753, it was sold to the Elector 
Augustus III and a copy set up in its place. The 
price paid was 20,000 crowns, or £9,000, which was 
£61,000 less than England gave the Duke of Marl- 
borough for Raphael’s “Ansidei Madonna” in the 
National Gallery. 

At Munich, as at Vienna, as at the Prado, as at 
the Louvre, there are Rubenses and Van Dycks in 
profusion, and we come to them at once. Van 
Dyck’s portraits of Queen Henrietta and a Man 
in Armour remain graciously in the mind; while 
Rubens has a night piece with startling effects of 
light that is a change from his usual manner, Hung 
among them are superbly painted hunting and 
larger scenes by Wildens and Snyders, and some 
strong, bold, uncompromising work by Jordaens, 
including the large “Diogenes with his Lantern,” 
where the cynic is being mocked not by Athenians 
but by Flemings. 

The Rembrandt room comes next, and this alone 


DRESDEN 203 


makes Dresden essential; for here are the Saskia 
with a pink, the “Manoah,” the amusing “Gany- 
mede,” the “Man with the Turkey,” the “Samson,” 
and that beautiful study of an old woman weighing 
gold. In this room are also a fine landscape by 
Koninck, a portrait of a mother and little girl by 
De Jongh, a rare painter, and Vermeer’s “Young 
Courtesan,” that splendid massive work with the 
glorious yellow bodice in it. We find Rembrandt 
again in the little rooms, where there is Saskia in 
a saucy mood and the William Burggraeff; and 
Rembrandt’s followers are strongly represented 
too, especially Bol. 

A. Flemish room succeeds, with notable work by 
Breu, Barend van Orley, Diirer (his own portrait) 
and the Master of the Death of the Virgin; and 
then comes a big new room given chiefly to Lucas 
Cranach, but made fascinating by a triptych by 
Diirer, in the manner of Mantegna, on silk or some 
such material, with little angelic Brownies in it per- 
forming domestic duties while the Child sleeps. 
There is also a moving little “Crucifixion” by 
Diirer, whom we find again at his best, in the room 
where Holbein’s magnificent portrait of the Sieur 
de Morette has the place of honour. This is one 
of the great portraits of the world. Next it, also 
from the same careful hand, is the remarkable little 
picture of Sir Thomas Godsalve and his son, and 
on another wall is Jan van Eyck’s tiny triptych, a 
jewel of paint, representing the Madonna and Child 
enthroned, with St. Catherine on the right wing 


204 A WANDERER AMONG PICTURES 


and St. Michael and the donor on the left. The 
vivacity of the Child is amazing, considering the 
minuteness of the work. St. Catherine has the 
prettiest blue and ermine robe you ever saw, and 
behind her, through the window, is one of Van 
Eyck’s fairy cities. The monarch whose travelling 
altar-piece this is said to have been should have been 
constant at his devotions. 

We now return through the Cupola, or Tapestry 
Room, so-called from the tapestries from Raphael’s 
designs which hang there, to the Italian pictures, 
and then to the little cabinets. Dresden still main- 
tains the old principle of the segregation of special 
masterpieces, which, as I have said, the Louvre and 
the Uffizi have given up. In the Cupola, which di- 
vides the schools of the North and the South, we 
find some rich and noble and unforgettable works, 
chief of them Giorgione’s “Sleeping Venus.” This 
picture is said to have been left unfinished at 
Giorgione’s early death and finished by Titian. The 
buildings on the hill are the same as those in the 
“Noli me Tangere” in the London National Gal- 
lery, which is so very Giorgionesque, but is given 
in the catalogue to Titian; and I have seen it sug- 
gested that, seen from the other side, they may be 
found in Titian’s “Sacred and Profane Love”; but 
what this proves, or even suggests, one cannot say. 
If Titian found no landscape in the Venus when 
he came to complete it, he might naturally add one 
of his own. The circumstance that Titian’s famous 
“Venus” at the Uffizi is in precisely the same atti- 


Photo Hanfstaengl 


HOLY NIGHT. Correggio 
Dresden 








GEORGE aiszE. Holbein 
Berlin 


anbvET ay] ‘SImyspunv jy 
ppPUBIQCUIIY “AWOLVNV AO IOOHOS FHL 


dbuanjis fun 010Ud 








Photo Mansell 


HEAD OF A YOUNG GIRL. Vermeer 
Mauritshuis, The Hague 


DRESDEN 205 


tude as Giorgione’s is also to be noted. There was 
once a Cupid in Giorgione’s version, but it has now 
been eliminated. The “Venus” is interesting also 
in being so like the picture in another room by that 
master who often came near to Giorgione, but never 
too near—Palma Vecchio—and who may thus be 
carefully compared with him. 

After the Giorgione the gem of the room is, 
perhaps, the Cima, the little Virgin’s visit to the 
Temple, which has Cima’s lucidity, simplicity, and 
charm. ‘The Botticelli is disappointing, and the 
Francia and the Cossa are nothing very remark- 
able; but two other pictures here have a special 
interest apart from their merit. One is the “St. 
Sebastian” by Antonello da Messina, with its fine 
colour and lively scene through the arches. But 
for Antonello, who died in 1479, this Cupola, to 
say nothing of the gallery as a whole, might be a 
very different place, for, without his northern ex- 
pedition to bring back the secret of oil, there might 
not yet have been acceptable and sympathetic pig- 
ment for Giorgione, born 1477, or Cima, born in 
1459, to paint with, to say nothing of Palma 
Vecchio and Veronese and Titian, to whom we are 
coming. 

The other special picture is the “Galatea” by 
Jacopo de’ Barbari, a Venetian, who also had his 
northern experiences, for having met Albert Durer 
in Venice in 1494, on that master’s first Italian visit, 
he was inspired to settle in Nuremberg a few years 
later, and it is believed that he had no little influence 


206 A WANDERER AMONG PICTURES 


on Diirer’s later style. Barbari, who in Germany 
was known as Jacob Walch, died in 1515, Durer 
in 1528. 

For the pick of the other Venetians in the Dres- 
den gallery we must now seek Room D and one or 
two of the Cabinets. Titian reigns supreme, and 
all his moods may be studied; but as a colourist 
he is finest in the “Madonna and Child with St. 
John the Baptist and the Magdalen, St. Paul and 
St. Jerome.” Then there is the cool portrait of 
his daughter Lavinia, and the superbly dignified 
portrait of an artist Antonio Palma in a black cloak 
—‘ The Man with a Palm”—with a rich landscape 
seen through the window; and perhaps above all 
“The Tribute Money,” which is radiant with life. 

Tintoretto is here, too, with portraits, one of 
which, of a woman, might have taught Goya much; 
_ and the sumptuous Paolo Veronese has some great 
family groups; but a little “Crucifixion” seemed 
to me his finest work. We find rapturous colour 
again in Palma Vecchio’s “Holy Family” and in 
Andrea del Sarto’s “St. Catherine,” while there is 
an El Greco hung here that is liker Tintoretto than 
himself. Mantegna’s “Holy Family” and Lotto’s 
“Madonna with Christ and St. John,” remain to 
be mentioned among Dresden’s best possessions. 

The glory of Room E is that brilliant pagan (I 
don’t mind how Christian his subject; he was a 
pagan to the core) Antonio Allegri, known to the 
world as Correggio, after the town of his birth, 
near Parma. It is to Parma that one must go to 


DRESDEN 207 


see his frescoes, but his pictures are scattered. We 
have in the London National Gallery the fascinat- 
ing “Mercury instructing Cupid,” and I noted at 
the Louvre the “Mystical Marriage of St. Cath- 
erine,” that almost Venetian work; at the Prado 
the “Christ Appearing to Mary Magdalen”; in 
Rome the “Danie”; and in Vienna the “Io” and the 
“Ganymede”; but the Dresden altar-pieces are 
among the greatest works; and the “Holy Night” 
is perhaps the most remarkable, not only in treat- 
ment, but in idea, for the light which irradiates the 
surrounding worshippers, and is so intense as to 
cause one of them to shade her eyes, proceeds from 
the Child Himself. It was an old convention; but 
Correggio makes it a fact! In this work all his 
sweetness and strength, his human enjoyment and 
apparently so easy mastery, are to be found. Not 
less accomplished, although less attractive, is his 
group of the Madonna with various saints, one of 
the many pictures brought hither from Modena. 
This has a religious theme, but every suggestion 
is of the riotous Joyous world. 

In the same room is a brilliant and equally un- 
religious work by the painter nearest to Corregio 
in spirit and execution, and also a fellow provincial, 
as his name implies: Parmigianino: a Madonna and 
Infant Christ, painted with a magician’s wand, but 
certainly not the Virgin Mary, and certainly not 
the Infant Saviour of mankind. These two artists 
were contemporaries, and both died young, Cor- 
reggio’s dates being 1494-1534, and Parmigianino’s 


208 A WANDERER AMONG PICTURES 


1504-40. The other great picture in this room is 
Andrea’s “Abraham and Isaac,” in which Isaac is 
marvellously drawn. 

The little Dutch rooms are almost as marvellous 
as those in Paris, Vienna, and Munich, and again 
one gasps at so much perfection. I cannot enumer- 
ate, where almost every work has something remark- 
able, but I must name the other Vermeer—the girl 
at a table reading a letter, a symphony in green; 
a very fine Metsu; a very fine Ostade, almost, if 
not quite, as rich as its neighbouring Brouwer, and 
not unlike it in colour; two dashing little sketches 
by Halls; a still life by De Bray; a superb Ochter- 
velt, and a girl by Adrian van der Velde as per- 
fect in its way as his cattle pieces. Other Dutch 
painters, some of them not too well known, who are 
at their very best here, are Gerard Dou, Schalcken, 
Pot, Van Goyen, Heda, both Ruisdaels, Kalf, 
Netscher, Dirk Stoop, Knupfer, Hondecoeter, 
Hondt, Teniers, Rombouts, and Jan Vermeer of 
Haarlem, that master of peaceful mellow landscape. 
A pretty interior, which, when I was previously in 
Dresden, was called a Peter de Hooch, is now given 
to Cornelius Janssens. Peter de Hooch is seldom 
met south of Berlin. 

Certain rooms being closed when I was in Dres- 
den last, I did not see again that picture for which, 
to many people, almost before the Sistine Madonna, 
the gallery is famous: Liotard’s “Chocolate Girl.” 

Let me add that the admirable catalogue of the 
Dresden Gallery devotes Section VII to the “Eng- 


DRESDEN 209 


lische Schule.” It has four entries only: Gottfried 
Kneller, Enoch Seeman, Sir Joshua Reynolds, and 
Sir Henry Raeburn. Of these, Kneller was born 
in Liibeck and did not reach England till he was 
twenty-eight, while Seeman (1694-1744) was the 
son of a Danzig portrait painter who settled in 
London. 


Cuarrer XVI: BERLIN 








Photo Hanfstaengl 


THE SISTINE MADONNA. Raphael 
Dresden 


Photo Hanfstaengl 


THE SIEUR DE MORETTE. Holbein 
Dresden 





Cuarpter XVI 
BERLIN 


HE, Kaiser Friedrich Museum in Berlin was 

built as a treasure-house of art quite recently, 
1904 being the year of its completion; and it was 
named in honour of the Emperor Frederick III, 
the father of ex-Emperor Wilhelm, who had died, 
after a very brief reign, sixteen years before its 
opening. ‘To it were moved the priceless works 
which had been acquired since 1815, when the pur- 
chase of the Giustiniani collection in Paris started 
the collection. Next came the purchase, in 1821, 
of 677 works out of 3000 assembled by an English 
merchant resident in Berlin, named Edward Solly. 
Then, in 1874, the Suermondt Dutch pictures were 
added. 

German money was also spent freely from time 
to time in acquiring single works as they came into 
the market, and never with more success than dur- 
ing the régime of Herr von Bode. This enthusiast 
and expert, who was born in 1845, was first trained 
for the law, but his interest in art prevailed. In 
1872 he became an assistant at the Berlin Museum; 
in 1883, director of religious sculpture and second 
director of the picture gallery; and, in 1890, sole 


director. All this before the Kaiser Friedrich Mu- 
| 213 


214 A WANDERER AMONG PICTURES 


seum, which he helped to plan, was opened. In 
1904 he was made general director of all the Royal 
Museums—a post which he held till his retirement 
in 1920. Probably no museum ever had, or could 
have, a director possessed at once of such a flair 
for excellence, such a store of knowledge, and such 
a persuasive power of extracting from the rich 
either works of art or the money to buy them 
with. A list of the additions to the national col- 
lection since Herr von Bode began to have his own 
way would be a very remarkable document, not a 
few of the most treasured being his own presenta- 
tion. 

That errors can be charged against him is true; 
but they are unimportant in comparison with the 
sum of the results of his zeal. In 1910, it will be 
remembered, a wax figure of Flora was acquired by 
Herr von Bode from an English source (and too 
often has he descended triumphantly upon our sale 
rooms) ; and whether it was the work of Leonardo 
the sublime or an obscure English sculptor whose 
surname I share was the problem of the day, and 
also the joke. I admit to efforts to extend the joke, 
but that was before I had seen the figure. Every 
time I have seen it since I have been more con- 
vinced of its true Renaissance origin, whatever re- 
pairs may have been effected by the later English 
hand. 

The rooms given to pictures in the Kaiser Fried- 
rich Museum differ from all those through which 
we have been sauntering by reason of their blend of 


BERLIN 215 


plastic art with the art of the brush. There are 
other galleries where sculpture occupies its own 
region, distinct from painting: the Louvre, for ex- 
ample, and the Art-History Museum in Vienna. 
But the Kaiser Friedrich is the only one in which 
a fifteenth century Italian picture and a fifteenth- 
century Italian bronze are found side by side, as 
though it had been possible to rifle the Uffizi and 
the Bargello simultaneously, one with each hand. 
For it is in its examples of Italian Renaissance art 
that the collection is most complete. It is not a 
little because of this double appeal that I find the 
Kaiser Friedrich the most humanly alluring of all 
the European galleries. I find there, also, less rea- 
son to be constantly read justing the critical faculty 
between warm sympathy and cold admiration. 
There are many great artists, for example, who do 
not so much impart pleasure as force the admission 
that they are astounding craftsmen. In Berlin the 
pictures that do not impart pleasure are very few. 

If I were asked to name the most glorious picture 
in the whole gallery, I should have no hesitation— 
I should say “Daniel’s Vision,” by Rembrandt, for 
the angel in it: that unearthly, unforgettable figure 
of radiance. After that the palm would have many 
competitors, among them Vermeer with his “Pearl 
Necklace”; Giovanni Bellini with his “Christ 
Risen”; Giorgione with his portrait of a young 
man; Van Dyck with the Marchesa Geronima 
Spinola, that splendid more-than-full-length; Hals 
with the “Hille Bobbe”; Holbein with the portrait 


216 A WANDERER AMONG PICTURES 


of George Gisze; Rembrandt again, with the Cor- 
nelis Claesz group, the man in the golden helmet, 
and the Hendrickje Stoffels; Diirer with the head 
of a young woman, and Antonello da Messina with 
the head of a young man; Luca Signorelli with Pan 
enthroned; Zurbaran, whom it is long since we saw, 
with his memorable group of theologians; and 
Velasquez with the undoubted portrait of a Span- 
ish lady in a rich brocade and the doubted Ales- 
sandro del Borro, that “ton of man.” 

I have mentioned some of the oustanding peaks; 
but the whole range is high. Coming to particulars, 
we find, although, as a whole, the collection is so 
catholic, a natural richness in the German school, 
from the early unknown Masters of This and That 
to the mature period of Diirer and his contem- 
poraries—at the end of the fifteenth and beginning 
of the sixteenth centuries. Among these, I was 
particularly pleased by a “Repose in the Flight to 
Egypt,” that favourite subject, by Altdorfer, where 
the Holy Family, attended by flying cherubim, rest 
beside a fountain and the Child leans over to play 
with the fish. Cranach depicts the same subject 
with similar attendants, and we find them again in 
other works: a German convention. Another in- 
teresting painter is Ludger Tom Ring; whose 
“Marriage in Cana” is one of the most ingenuous 
and ingenious handlings of a Scriptural theme that 
I ever saw, for the whole of the foreground is given 
to the two cooks at their work in a kitchen packed 
with good things—such profusion going beyond 


BERLIN 217 


even a Snyders larder—while through an open door 
at the back may be distinguished Christ and a guest 
or two—very small and negligible! 

Another German religious painter with domestic 
feeling is Georg Breu, who has a Madonna and 
Child with many pretty details and fancies, the 
Child being unusual, but none the less human for 
that, in turning Its back on the spectator. ‘These 
men—Altdorfer, Breu, and their colleagues—are 
the lineal forerunners of that most delightful Ger- 
man illustrator of the middle of the last century— 
Adrian Ludwig Richter. Another rare German 
artist (who died in Rome in 1610), is Adam 
Elsheimer, a painter of little sparkling landscapes 
with figures. 

The chief Van Eycks have been sent back to 
Ghent since the war; but there is a tiny Madonna 
and Child, by brother Jan, that could not be better, 
although the London Arnolfini group is, of course, 
finer. A favourite picture here is the portrait of 
a young girl, who may have been the Countess of 
Talbot, by Petrus Cristus. In the other Flemings, 
Berlin is richer than we, but its “Christ and the 
Magdalen,” by Dirk Bouts, is not the equal of the 
London ‘“Entombment,” and Berlin is without a 
single Robert Campin. London has no Quinten 
Matsys so pretty as that in which the Madonna and 
Child are kissing. 

Among the later Flemings Rubens makes a brave 
show, both with great voluptuous mythological 
scenes and Scriptural sketches. In one picture, the 


218 A WANDERER AMONG PICTURES 


plumpest of Andromedas is rescued by Perseus; in 
another, an equally comfortable St. Cecilia plays 
raptly at the organ. Van Dyck’s Marchesa Spin- 
ola is his most enchanting work, but the two Gius- 
tiniani portraits are magnificent. ‘The two children 
by Cornelis de Vos are very attractive. 

Certain of the best of the Dutch pictures I have 
mentioned. Of accepted Rembrandts there are 
twenty-six. Both the Vermeers are masterpieces, 
especially “The Pearl Necklace,” and there is a 
putative example—a chair, a cloak trimmed with 
ermine, and a picture of still life on the wall— 
which has exceptional charm. The Peter de Hooch 
is curiously Vermeerish. In the portrait of Rem- 
brandt’s mother, Gerard Dou reveals the fact of his 
pupillage. Terburg’s “Concert,” so often repro- 
duced, where the woman at the spinet is too like a 
coloured bust, has a more liquid and gayer colour 
than he usually played with, and he has a very mod- 
ern painting of a knife-grinder’s family in a court- 
yard. The two vast little landscapes by Rem- 
brandt’s friend Hercules Seghers, and an even 
vaster by Koninck, are very impressive. I have 
also noted some trees by Paul Potter, an old 
woman’s head by Helst, Frans Hals’ “Mother and 
Child” and the famous “Hille Bobbe” (there are 
ten Hals in all), two quiet landscapes by Jan van 
der Meer of Haarlem, and work by the Ruisdaels, 
Verelst, and Emmanuel de Witte. For those who 
like still life and flower pieces the Kaiser Friedrich 
Museum is a paradise. 


BERLIN 219 


I have mentioned some of the Italian treasures, 
and again remark that interspersed among them are 
exquisite examples of contemporary sculpture, not 
the least remarkable being the profusion of works 
by the Della Robbias. Among the Titians is a self- 
portrait very like G. F. Watts—but that, I sup- 
pose, was less coincidence than G. F. Watts’ con- 
nivance. The Giorgione young man, whether or 
not Giorgione’s, is very beautiful. A young sculp- 
tor by Bronzino has a haunting quality. Carpaccio 
is strongly represented, and the Giovanni Bellinis 
are priceless. A popular picture is the portrait of 
the yellow-haired woman with a broad bosom, by 
Francesco da Santa Croce of Bergamo. Mantegna 
and Signorelli should be looked for; Luca having a 
picture which shows the innovating interest of his 
in anatomy to which I drew attention at the Uffizi. 
Verrocchio’s name is confidently given to two 
works. The Lippo Lippi, with the Child sucking 
its thumb, is very attractive, 





Cuartrr XVII: AMSTERDAM 


CuHapTer XVII 
AMSTERDAM 


HE Ryks (or State) Museum in Amsterdam 
is a large red and yellow building, dating from 
the eighties, with an archway through it leading 
from the Stadhouder Kade to the open space 
crossed by the Hobbema Straat and Honthorst 
Straat, in which the Skating Club’s lake is situated. 
Close by (I mention this as an instance of true patri- 
otism) are streets named after Jan Steen, Govaert 
Flinck, Albert Cuyp, Gerard Dou, and other 
Dutch painters. On the ground floor of the Ryks 
Museum will be found articles illustrating the his- 
tory of the nation and its progress in the applied 
arts, together with a very amusing series of recon- 
structed Dutch rooms; upstairs are the pictures, 
thousands strong. 

We have seen with what avidity and satisfaction 
the works of the Dutch masters were collected in 
France and Spain, in Austria and Germany, and 
we are soon coming to further admirable examples 
in Antwerp, Brussels, and London. Even in the 
Uffizi in Florence we found two or three Dutch 
rooms. But in the old rooms of the Ryks we shall 
look in vain for such reciprocity. With the excep- 


tion of a few pictures by Flemish painters, this 
223 


224 A WANDERER AMONG PICTURES 


great gallery is devoted exclusively to national 
work. Holland for the Dutch. 

The nucleus of the Ryks collection consisted of 
pictures belonging to the House of Orange. When, 
in 1705, the French took possession of the country, 
a number of these pictures were removed to Paris. 
The remainder were conserved by Louis Napoleon 
when he became King of Holland in 1806. At first 
they were kept in the House in the Wood ‘at The 
Hague, and then were removed to his Amsterdam 
home in 1808. The Dutch regained their country 
in 1813, and the pictures were hung in the Trep- 
penhuis until, in 1885, the present building was 
ready for them. Meanwhile the collectionof Adriaen 
van der Hoop, whose widow died in 1880, was ac- 
quired, and the collection of Baron van de Poll in 
the same year. A little later the many corporation 
groups were brought together from the various 
guild houses for which they had been painted. 

It is impossible to do justice to the range and ex- 
cellence of the Ryks treasures in any way but by 
printing practically the complete catalogue; and 
that would be fatiguing to read. Let me, there- 
fore, say that all the Dutch masters whom we have 
been marvelling at in the various Galleries of 
Europe will be found here again, often in finer 
quality, although now and again their choicest 
works may have been exported. Thus, Vermeer’s 
“Pearl Necklace,” in Berlin, is certainly not ex- 
celled at the Ryks, although different examples of 
his genius, equally noteworthy in their way, hang 


AMSTERDAM 225 


there. We saw also at Munich finer Brouwers, and 
I, personally, should choose the London National 
Gallery “Interior of a Dutch House” before any 
of the Ryks Peter de Hooch’s. I think the Na- 
tional Gallery example of that rare master, Michael 
Sweerts, is also better. 

I have endeavoured from time to time in this 
survey to find the one picture which can be called 
the apple of the gallery’s eye. It is not easy. I 
suggested at the Louvre that it might be Leonardo’s 
“Monna Lisa’; at the Prado, Valasquez’s “Las 
Menifias”; in Vienna, Giorgione’s “Three Magi.” 
But at the Ryks there is no need whatever for hesi- 
tation: Rembrandt’s “The Night Watch” holds the 
chief position by universal consent and has been 
given a room all to itself. That the title is wrong 
and that the scene represents the light of day and 
not of flares or lanterns is now generally agreed; 
but it will continue to be called “The Night Watch” 
as long as the artist’s genius is honoured. If an ac- 
curate description should be asked, it is “The Sortie 
of Captain Banninck-Cocq’s Civic Guard! from 
their Guild House on the Singel.” Captain Frans 
Banninck-Cocq, Lord of Pommerland and Ilper- 
dam, is the figure in the centre, coming forward, 
whose left hand, when you see it in the original, 
seems to be thrust right out of the canvas into the 
room where you are standing. Rembrandt usually 
had only one thought at a time, but the little girl 
frolicking among these swashbucklers and catching 


226 A WANDERER AMONG PICTURES 


and diffusing radiance is a proof that his purposeful 
mind could relax now and then. 

“The Night Watch” was painted in Amsterdam 
in 1642, when the artist was thirty-six. It is his 
largest picture. In the next room will be found 
his “Staalmeesters” or “Syndics,” a company of 
grave Dutch merchants in committee, painted 
twenty years later; and these two works would, I 
suppose, be selected as the gallery’s choicest pos- 
sessions, although some admirers of Rembrandt 
might put in a word for his portrait of that serene 
and shrewd old lady, “Elizabeth Bas,” and for the 
“Jewish Bride.” 

Rembrandt was an Amsterdammer only by adop- 
tion. He was born in Leiden in 1606, the year in 
which King Lear was probably written, and his 
father (like John Constable’s) was a miller. In 
1631 he settled permanently in Amsterdam, and in 
1634 he married Saskia van Uylenborch, that smil- 
ing, fair-haired Frisian girl whom we seem to know 
so much better than many of our living acquaint- 
ances, and whom we saw sitting on her proud hus- 
band’s knee when we were in Dresden. It was only 
a few weeks after the completion of “The Night 
Watch” in 1642 that Saskia died. Rembrandt him- 
self survived till 1669, his last years being far from 
happy. The total number of his paintings has 
been estimated between seven hundred and a thou- 
sand, but a recent American critic has been reducing 
these to a trifling few. Previously a French cynic 
had remarked that “Rembrandt painted nine hun- 


AMSTERDAM 227 


dred pictures, two thousand of which were in the 
United States!” 

It may be interesting to add that in the London 
National Gallery, where twenty pictures are 
ascribed to Rembrandt, there is a very remarkable 
small version of “The Night Watch,” by Gerrit 
Lundens, which has peculiar value both in proving 
God’s sun to be the illuminant of the scene and also 
in showing us what the original was like before its 
edges were cropped. ‘This copy was made by 
Lundens about 1660, to the order of the gallant 
Banninck-Cocq himself, to hang over his mantel- 
piece. 

Next to its Rembrandts, I should say that the 
Ryks is chiefly to be envied for its Vermeers. The 
Rembrandts are many; the Vermeers are four, two 
of which have come since the war from the collec- 
tion of the descendants of Rembrandt’s friend, Al- 
derman Six. We used to have to visit the Six 
mansion on the Heerengracht to see the “Maid- 
servant Pouring Milk” and the “Little Street’; 
to-day that stately house no longer exists. In ad- 
dition to these two works, so perfect of their kind 
—the “Maidservant,” which, although but a few 
inches in height, suggests life size; and the “Little 
Street,” by its quietude and simplicity creating a 
hush in the room—the Ryks has the woman in a 
blue coat (such a blue!) reading a letter. This is 
the picture with the yellow map on the wall, which 
must have been a new thing in painting then—in 
the middle of the seventeenth century—and is still 


2283 A WANDERER AMONG PICTURES 


modern and without its peer. Whistler’s portrait 
of his mother may owe much to it. In another room 
is Vermeer’s much more elaborate but less success- 
ful picture of a woman with a mandolin, seen 
through tapestry curtains, called “The Letter,” a 
dashing feat of virtuosity. 

If popularity is to be taken as a guide to merit, 
the picture entitled, rather curiously, ” The Never- 
ending Prayer,” by Nicholas Maes, ranks very high. 
It is certainly a masterpiece of small and large 
painting in unity; and it has a close, sombre rich- 
ness of its own which distinguishes it from the run 
of Dutch work, which was lighter and more open. 
The same painter’s “Spinner” is also a favourite 
on Sundays, and, of course, there are crowds before 
the family interiors by Jan Steen, the reveller. 

For Frans Hals it is necessary to go to Haarlem, 
but the Ryks has that merry picture of a Dutch 
gentleman and his lady, said to be the painter and 
his wife, sitting in a garden. In place of Hals as 
a, corporation painter, the Ryks honours his pupil 
Bartholomew van der Helst, the author both of 
the famous fat Landrichter Bicker in the Gallery 
of Honour, and of the best corporation piece out of 
Haarlem—the Banquet of the Presidents of St. 
Sebastian’s Guild. 

The modern section of the Ryks Gallery should 
on no account be overlooked by visitors. Some of 
its French examples are of the highest quality. 
Quite recently Mr. J. C. J. Drucker Fraser has 
presented the Ryks with his valuable collection of 





Photo Hanfstaengl 


Jan Van Eyck 


ALTARPIECE. 


Dresden 





Photo Hanfstaengl 


CHRIST AND THE TRIBUTE MONEY. Titian 
Dresden 


AMSTERDAM 229 


modern Dutch masters, which are accommodated 
in rooms adapted to that end, and these must be 
visited by anyone interested in the art of the 
brothers Maris, of Mauve, of Bosboom, of Israels 
and Blommers, Weissenbruch, Breitner and 
Mesdag. 








Cuartern XVIII: THE HAGUE 





Cuapter XVIII 
THE HAGUE 


HE Ryks Museum at Amsterdam is essen- 
tially a public building; the Mauritshuis at 
The Hague is more like a private house to which 
the privileged are admitted. It is of such modest 
dimensions that no one can possibly be tired there. 

The Mauritshuis dates from the 1630’s, when it 
was built as a residence for Count John Maurice 
of Nassau. In 1821 it became a gallery to house 
what was left by the invading French from the 
collections of various Princes of Orange, and, in 
particular, that of the Stadtholder William V, who 
died in 1806. His son William I, who became King 
of Holland in 1813, a keen enthusiast for painting, 
added many treasures, among them Rembrandt’s | 
“School of Anatomy,” which he bought in 1828. 
He was also instrumental in getting back from 
France a large amount of loot, including Paul 
Potter’s “Bull.” 

I said, when we were at the Ryks Museum, that 
the selection of the one prominent picture there was 
simple. If the same question were put at the 
Mauritshuis, I suppose that Rembrandt would 
again be the painter, with “The School of An- 


atomy” as the chosen work. This magnificent 
233 


234 A WANDERER AMONG PICTURES 


group, in which the painter’s friend, Nicolas Tulp, 
is seen standing beside a fore-shortened corpse on 
the dissecting table and demonstrating to his fel- 
low-surgeons, was painted as early as 1632, when 
Rembrandt was only twenty-six, and it is the first 
of his many group pictures. It has not the life 
and light of “The Night Watch,” but it has a — 
sombre and majestic dignity all its own, and can 
never be forgotten. 

If, however, a popular vote were taken, it is 
probably not “The School of Anatomy” that would 
be given first place among the Mauritshuis master- 
pieces, but Paul Potter’s “Bull.” This great pic- 
ture—great both in scale and handling—always has 
its devout admirers, of whom, within bounds, I am 
one. Paul Potter died at the early age of twenty- 
nine and you will find his portrait elsewhere in the 
gallery painted by Bartholomew van der Helst. 

But there is still a third opinion to be heard— 
and not timidly spoken, either—as to the very jewel 
of the Mauritshuis; and this favours either the 
“View of Delft” by Jan Vermeer, native of that 
town, or the “Head of a Young Girl” by the same 
hand. The “View of Delft” is, of all landscapes 
ever painted, the mellowest and most serene, while 
the “Head of a Young Girl’ is nothing short of a 
miracle. As I have written elsewhere, if you look 
at this child steadily for a few moments, she begins 
to smile back. 

Much that is of the highest quality remains after 
we have segregated these four pictures. There are 


THE HAGUE 235 


Rembrandt’s “Susanna Bathing,” with an Elder 
spying from the bushes; Rembrandt’s “Simeon in 
the Temple,” one of his first great works, painted 
when he was twenty-five, a masterpiece of composi- 
tion and light, and a sacred picture, too; and there 
are also portraits from the giant hand. Very likely 
Dr. Bredius’ examples are still “in bruickleen,” 
for the Mauritshuis was fortunate in once possess- 
ing, as curator, an enthusiast who was not only able 
to own Rembrandts but willing to loan them. 
There is that exquisite little “Goldfinch,” painted 
by Karel Fabritius, Vermeer’s friend, who died at 
the age of thirty-four. Vermeer himself died when 
he was forty-three, and Adriaen Brouwer, whom 
we also find here with a masterly study of a head, 
at the age of thirty-three, and Metsu at thirty-seven. 
Paul Potter, as I have said, lived only to be twenty- 
nine. I mention these ages because the shortness of 
so many Dutch painter’s lives makes the perfection 
and abundance of the school more remarkable still. 
Then there is Gerard Dou’s “Young House- 
keeper,” that sublimated family scene, the first and 
best “chocolate-box” picture; and it is interesting to 
pass from it to Rembrandt’s splendid “David play- 
ing the harp before Saul,” not only for the contrast, 
but in order to fathom what it was that Gerard 
Dou, Rembrandt’s pupil, learnt from his master. 
One of the best Jacob Ruisdaels, the view of 
Haarlem, the artist’s native town, is here, with a 
dappled landscape and Haarlem church standing 
up like a mammoth on the edge of it; there are 


236 A WANDERER AMONG PICTURES 


some Jan Steens, “The Oyster Feast” being the 
favourite, but surpassing it, I think, in attractive- 
ness, is “The Menagerie,” where the little girl feeds 
the pet lamb among the farm animals, a little girl 
radiantly alone in her delicacy among all Jan 
Steen’s creations. And I have not mentioned the 
Terburgs, the Ostades, the Wouwermans (which 
one has a way of taking for granted), a perfect 
little Thomas de Keyser, and too many other works 
of excellence. Each, indeed, is picked. 

Among the foreigners are Holbein (look for the 
portrait of Henry VIII's falconer, Robert Chese- 
man); Rubens, with portraits of his two wives, 
Isabella Brant and Héléne Fourment, both of them 
testifying to his good judgment and good fortune; 
Van Dyck, with an English gentleman and his wife; 
a very charming Murillo, and a Royal child by the 
greatest hand of them all—Velasquez. 

No visitor to Holland would omit a visit to Haar- 
lem, to see the great groups by Frans Hals, which — 
have been arranged in the very almshouse (now the — 
Museum) of which the painter and his wife were 
inmates. Among the Dutch painters of his time 
the roystering Hals stands alone, by reason of the 
largeness of his manner, the untrammelled vigour 
of his brush strokes, the lifelike vividness of his 
heads and hands. No other portrait painter can 
so suggest the blood beneath the skin. 

For the most part the Dutch masters concealed 
their method: they let you see only the finished 
marvel. But Rembrandt and Hals admit you to 





vee 


Photo Hanfstaengl 


THE MENAGERIE. Jan Steen 
The Hague 





THE YOUNG HOUSEKEEPER. Gerard Dou 
The Hague 


Wa, Ann 
s[eyT suely ‘suaisaganduv ao anouDd 


Jbuanj sfunf{ 010Yd 








HEER AND VROUW COLENBURGH VAN BRAECKEL AND THEIR SON, 
Gerard Terburg 


Haarlem 


THE HAGUE 237 


the studio; you see the one building up his effects, 
laying paint on paint, sometimes with a knife; you 
see the other as one dashing touch succeeds the last. 
Rembrandt had his followers in some number; but 
Hals invented his manner and it died, in Holland, 
with him. Many years had to pass before it was 
practised again. A living master who knows some- 
thing about it will be found in the London National 
Gallery—the only living master there: Mr. Sargent. 
The Haarlem Museum is not purely a Frans 

Hals memorial; there are some excellent pictures 
there by other of the many artists which the town 
fostered: Jacob Ruisdael and his uncle Salomon, 
Jan Vermeer, of Haarlem, whose quiet landscapes 
always give pleasure, Van der Helst and Adriaen 
Brouwer, both of whom were Hals’s pupils, while 
one of the most charming of Terburg’s little por- 
trait groups, so widely different from the Hals 
tradition, hangs there too. 

The Hague has two galleries rich in the romantic 
French art of the nineteenth century, to which the 
Dutch collector has always been warmly attached, 
and to which some of the best recent Dutch paint- 
ers owe not a little inspiration. Anton Mauve, in 
particular, may be said to derive from Barbizon. 
These galleries, although they are outside my 
scheme, must, I feel, be mentioned. The one is in 
the same building that accommodates the panorama 
of Scheveningen by H. W. Mesdag, the banker- 
artist, and it contains the modern section of the 
Municipal Museum. The other is the Mesdag Mu- 


238 A WANDERER AMONG PICTURES 


seum itself, the house filled with work of his Dutch, 
French and English contemporaries, largely votive 
(like the Hugh Lane house in Dublin). It has 
some exquisite things in it, not the least memorable 
being “The Young Cook,” from the sensitive hand 
of that strange visionary Matthew Maris, who died 
in his adopted city, London, in 1917. Between the 
work of the great confident materialists of the 
seventeenth century and this shy recluse of the 
nineteenth how wide a gulf! Yet Holland pro- 
duced both. 


Cuartrer XIX: ANTWERP 





CuHapTrr XIX 
ANTWERP 


HE Antwerp Museum of the Fine Arts was 
finished in 1890 to house the great Rubens 
and Van Dyck collections, consisting of thousands 
of engravings and photographs, and the paintings 
from the suppressed monasteries and churches of 
Antwerp, from the Hotel de Ville and from the 
Steen Museum. But had it not been for a citizen 
and civic authority of Antwerp named Floris van 
Ertborn, who in 1840 bequeathed his collection of 
pictures to the city, the Antwerp Gallery would 
be a very different place; not negligible for a mo- 
ment, but lacking some of its finest quality. 

For among Burgomaster Van Ertborn’s pic- 
tures, all of them of cabinet size and none poor, are 
some gems of imagination and paint. There is 
even a “Crucifixion” by Antonello da Messina, a 
work comparable with the London National Gal- 
lery example, but differing from that by the inclu- 
sion of the two thieves. There is a little Simone 
Martini and a Fra Angelico, also from the distant 
South. There is Jan van Eyck himself, with the 
exquisite little monochrome of St. Barbara at the 
foot of her tower, one of the most precious treasures 


that Belgium possesses. And all the rapt and pious 
241 


242 A WANDERER AMONG PICTURES 


Netherlanders are also represented: Rogier de la 
Pasture or Roger van der Weyden, Hans Mem- 
ling, Gerard David, Quinten Matsys, the two 
Bouts, Bles and his followers, and so forth. After 
Van Eyck’s “St. Barbara,” which was painted as 
long ago as 1437, and his “Madonna of the Foun- 
tain,” painted in 1439, I think perhaps that Roger 
Van der Weyden’s “Seven Sacraments,” with su- 
perb architectural drawing in addition to its emo- 
tion, is the most memorable picture; but the same 
painter’s portraits always remain in the recollection, 
and the features of his ascetic Philippe de Croz 
come to mind at any moment. Gerard David’s 
“Honest Judges,” a kind of precursor of Stothard’s 
“Canterbury Pilgrims,” has great attraction; but 
David is always interesting, for his art reached for- 
ward too. There is also among the Van Ertborn 
pictures the famous Jean Fouquet Madonna, with 
“le sein gauche entiérement 4 decouvert,” as the 
catalogue has it: a description which will probably 
cal] it to many readers’ memory. 

The true heroes of the Antwerp Wiis are the 
two illustrious Antwerpians, Rubens and Van 
Dyck, and this being so, and since we have seen 
so much of their work during this survey, this is 
perhaps the place to say a few words as to their 
careers. 

Peter Paul Rubens was born at Siegens in West- 
phalia in 1577, and was ten years old when his 
widowed mother moved to Antwerp. There the 
boy received a first-class education, in addition to 


ANTWERP 243 


the classics wisely learning a number of modern 
languages, without the knowledge of which his sub- 
sequent career must have been very different. His 
early efforts in painting were disciplined by Adam 
van Noort and Otto van Veen, and by 1598 he was 
allowed to take pupils of his own and was already 
famous for the vigour of his hand. His foreign ex- 
periences began in 1600, when he went to Italy as 
Court painter to the Duke of Mantua, and during 
visits to Rome, and on a mission to Philip III of 
Spain, in 1603, he had the opportunity of studying 
finer, or at any rate richer, pictures—especially per- 
haps the Madrid Titians—than he could see in Ant- 
werp, and also of mixing with the great world. In 
1608 he returned to Antwerp, taking his Italian 
warmth with him, and there he remained for several 
years as the Court painter and the head of Flemish 
art. In the following year he married Isabella 
Brant, whose portrait we saw in Berlin and The 
Hague. 

Then set in a long and intensely energetic period, 
many of the fruits of which we have seen, not the 
least remarkable being the Marie de Médicis series 
in the Louvre. That Rubens painted every stroke 
himself is practically impossible, but he probably 
did more than anyone else could have done. In- 
deed, herculean is almost the only word for his 
achievements. But painting was not all: he was a 
man of affairs too and the friend of the powerful, 
and he was considered sufficiently tactful and au- 
thoritative to be chosen in 1628 to visit Philip IV 


244 A WANDERER AMONG PICTURES 


as a mediator between England and Spain. He 
was in Madrid in 1628, and the King put a studio 
at his service and appointed Velasquez to take him 
about and to see that he was comfortable. There 
is, however, no evidence that either painter had 
any deep artistic influence on the other, although 
it is more than likely that Rubens said some very 
friendly things about “Los Borrachos,” which was 
then on the Spaniard’s easel: and it is certain that 
he urged him to go to Italy, as he did in the follow- 
ing year. The result of the Spanish visit was that 
Rubens was entrusted by Philip with friendly mes- 
sages to Charles I of England, and while on that 
mission in 1629, was knighted by the King and 
made an honorary M.A. of the University of 
Cambridge. 

On returning to Antwerp, Rubens, who had been 
a widower for three years and was now over fifty, 
married Héléne Fourment, a billowy girl of sixteen, 
whom we see so often in his pictures, and whose 
sister Susanne is the vivacious wearer of the 
“Chapeau de Paille” in our National Gallery. An- 
other family picture there is the landscape depicting 
Rubens’ country house, the Chateau de Steen, with 
partridges characteristically as big as turkeys. 

A new period of activity in the Antwerp studio 
followed upon his second marriage, lasting till the 
painter’s death in 1640. He is buried in the church 
of St. Jacques. We have seen Héléne Fourment 
alone many times: in her bath-gown in Vienna, and 
with an infant boy in the Dresden Gallery; we 


Photo Mansell 


TCH NOBLEMAN. Frans Hal 
Antwerp 








e — 
Photo Mansell 
SALOME PANEL OF ST. JOHN THE BAPTIST. Quinten Matsys 


ANTWERP 245 


saw two of Rubens’ sons together, handsome and 
happy, at the Liechtenstein in Vienna. He had 
altogether four sons and three daughters, but no 
son took to paint and no daughter married an artist. 
Within a century of his death his male line was 
extinct, but I have seen it stated that through the 
female line over a hundred families now trace their 
origin to him. 

The “Descent from the Cross” in Antwerp 
Cathedral, which many persons consider Rubens’ 
masterpiece, was painted between 1611 and 1614; 
the “Assumption,” over the high altar, in 1626. 

Among the Antwerp Museum’s finest examples 
of the art of Rubens is the triptych representing 
the incredulity of St. Thomas, which the contem- 
porary portraits of the donors in the wings. The 
vividness of which Rubens was capable, and his easy 
fluent brush-work are here at their best: and there 
is drama too. There are also the “Christ Crucified 
between Two Thieves”; the vast “Adoration of the 
Kings,” with the camels’ heads swaying above; the 
“Descent from the Cross’ the masterpiece here, I 
think; the almost too realistic triptych of the dead 
_ Christ, the Virgin and St. John; and a Crucifixion. 
In other moods are the “Venus Frigida” and the 
farm scene which turns out to be an incident in the 
career of the Prodigal Son. 

In many ways Van Dyck’s career resembled that 
of Rubens. He had not the same almost boisterous 
fertility, and was without robustness altogether, but 
he painted alone and with assistance an astonishing 


246 A WANDERER AMONG PICTURES 


number of pictures, chiefly portraits, although 
many religious subjects too, and he painted them 
in a life shorter than that of Rubens by twenty-one 
years! 

Anthony van Dyck was born in Antwerp in 1599, 
the son of a well-to-do tradesman, and, unlike so 
many sons of well-to-do tradesmen, he was steered 
towards a career as an artist from a very early 
age, and at ten was apprenticed to Hendrick van 
Balen, the master of Snyders. By the time he was 
sixteen the boy was painting independently and 
taking pupils. It was not until he was twenty that 
he joined Rubens, who was, of course, the dominat- 
ing artistic influence in the city, and indeed in all 
Belgium, and for too long he allowed himself to 
paint like—or at any rate too like—the master. 
But how sure and distinguished was his uninflu- 
enced hand even at that age can be learned by look- 
ing at the portrait of Cornelius van der Geest in 
the London National Gallery, which was painted 
in 1619-20. 

Van Dyck’s first visit to England, a country 
which ultimately became his home, was in 1620; 
but little is known of his activity there. In 1621 
he went to Italy, remaining there for five years, 
studying the masters, chiefly the Venetians, 
Veronese and Titian—Titian being the god both of 
Rubens and of himself—and painting portraits, the 
most famous of which are those done during his 
stay in Genoa. | 

On returning to Antwerp in 1627 or 1628 Van 


ANTWERP 247 


Dyck found himself in some degree of rivalry with 
Rubens, but there is no record of petty quarrels. 
Indeed, both painters seem to have been gentle- 
men too. To this second Antwerp period belong 
some of Van Dyck’s finest works, including the 
portrait of Maria Louisa of Tassis, which we saw 
at the Liechtenstein Gallery, and the “Crucifixion” 
at Mechlin, which Sir Joshua so greatly admired. 

It was in the spring of 1632 that Van Dyck came 
again to England to settle, and favours were at 
once showered upon him by Charles I. He was 
made a Court painter, he had a pension of £200, 
free lodging and a studio in Blackfriars and coun- 
try quarters at Eltham Palace, and in July he was 
knighted, He was at first chiefly occupied in paint- 
ing the King and Queen, but later every one 
crowded to his studio, and he soon began to paint 
much too rapidly. Among his devices to lessen 
labour was the bad habit of painting all hands from 
the same model. As a man he managed his affairs 
without Judgment: he was always in love, too often 
with other men’s wives; he lavished money and time 
on musicians, and he kept open house more suitable 
to a prince than a painter. Nor was he strong 
physically. ‘The result was that he became more 
and more in debt, and towards the end, abetted by 
his friend Sir Kenelm Digby, wasted his time and 
repose in the actual pursuit of the philosopher’s 
stone! In 1630 he married Lady Mary Ruthven, 
whose beautiful portrait, in which she is playing 
the violoncello, we saw at Munich; but few men 


248 A WANDERER AMONG PICTURES 


have been less monogamous. He died in Decem- 
ber, 1641, at his house at Blackfriars, and was 
buried in St. Paul’s—the St. Paul’s that was burned 
in the Great Fire, 

The Antwerp Museum has Van Dyck’s portraits 
of the Bishop Malderus, of the quaint little girl 
with two dogs, of Martin Pepijn, of our little 
Charles II when still an innocent, and a most at- 
tractive presentment of Héléne Fourment. There 
is also a Christ entombed, a Deposition, and a 
Crucifixion: but the portraits are more notable. 
Van Dyck’s friend Snyders, whose handsome head 
he etched so finely, is seen at his best here. 

The third Antwerp master, Jacob Jordaens, 
whom we have found so often in the vicinity of 
Rubens, and who stands for Rabelaisianism, con- 
viviality, and a hard brilliance of technique, was 
born in Antwerp and a resident there all his life. 
He married a daughter of Van Noort, his own and 
Rubens’ master, and not only looked upon Rubens 
as an inspiration, but worked under him and with 
him. Jordaens is at his best at Antwerp in the 
“Family Concert” and a frame of studies for heads. 
His “Last Supper” has more reality than many 
versions, although it seems hardly fair to depict 
Christ in the act of plucking Judas’ beard; but 
Jordaens, with his uncompromising naturalism, is 
better away from religious subjects. 

Among the chief of the other pictures in the Ant- 
werp Museum I must mention the “Salome” of 
Quinten Matsys, in which Salome, in a glorious 


ANTWERP 249 


brocade dress, looks, with her little piquant face, 
so unlike her historic character; and also the same 
master’s serene portrait of Peter Gillis, his very 
modern Magdalen, and the sombre Entombment; 
Memling’s famous Heavenly Choir, so different in 
scale from his ordinary minute panels; Cornelis de 
Vos’ portrait of the old Guildsman, not unlike 
Velasquez’s A.sop, and Simon de Vos’ smiling por- 
trait of himself; portraits by Gossaert; a scene of 
eagles devouring their prey by Jan F yt; some pas- 
toral landscapes by Abel Grimmer in the manner 
of Old Brueghel; several pictures by Old Brueghel 
himself, or his followers, not to be compared with 
those at Vienna; and a charming group of two girls, 
labelled “St. Agnes and St. Dorothy,” by an un- 
known hand, St. Agnes (called so on the evidence 
of a pet lamb) wearing a gracious yellow robe. 

Among the Dutch artists will be found Brouwer, 
Gonzales Coques, with a set of the five senses, Frans 
Hals, with the glorious portrait of a Dutch noble- 
man, Hobbema, and Rembrandt, with a fine Burgo- 
master and a finer Saskia. Jan Steen attempts to 
be a religious painter in “Samson mocked by the 
Philistines,” but is more at home in a “Dutch 
Wedding Feast.” I noted a rare painter, Koedijck, 
with a very good interior suggesting both de Hooch 
and Vermeer. Terburg, Schalcken, Van de Cap- 
pelle, Van Goyen, De Vries are at their best; and 
Weenix is superhumanly accomplished in an as- 
semblage of birds, including a chaffinch and a king- 
fisher. 


CHAPTER XX: BRUSSELS 





CHAPTER XX 
BRUSSELS 


O pass from Antwerp to Brussels is rather to 
increase our familiarity with certain painters 

than to find any new ones, for the same masters 
are the heroes of both galleries. Both are rich in 
the early period of the Van Eycks and Roger van 
der Weyden; both are rich in the great florid period 
of Rubens; both have Dutch rooms notably filled. 
If Brussels has not anything quite so fascinating 
as Jan van Eyck’s “St. Barbara” at Antwerp, Ant- 
werp has nothing quite so ingratiating as the little 
girl’s head by Petrus Cristus at Brussels; and there 
is at Brussels a Madonna and Child by Gerard 
David—No. 666—of which it is impossible to weary, 
with a child at supper in whose childishness you can 
believe, and a fairyland landscape seen through 
the window. ‘There is also Memling’s “Martyr- 
dom of St. Sebastian,” with its glorious back- 
ground, and the Saint anything but a Roman 
soldier, and the archers only six feet distant. And 
a very beautiful Hugo van der Goes “Holy 
Family,” and a strange, haunting picture, at once 
so early and so late—an ‘“Annunciation”—at- 
_ tributed to the “Maitre dit de Flémalle ou de 


Mérode” (Robert Campin), where the angel brings 
253 


254 A WANDERER AMONG PICTURES 


the tidings to the Virgin in an enchanting room 
with cool walls, tiled floor, an open fire, and a vase 
of lilies on the table. I don’t say that the Brussels 
primitives are better than Burgomaster Van Ert- 
born’s, but they are not inferior. Each city has 
its own treasures. 

The Palais des Beaux-Arts in Brussels, the only 
European gallery in this book (as I have already 
stated) to which there is no entrance fee, was built 
in the eighteen-seventies, and was opened in 1887 
as the home of the Royal collections of pictures 
and sculpture; and it is, I assume, because the 
Crown gave the works of art that they are free to 
all. Some day (I repeat) may all galleries be as 
hospitable and accessible! for the saying that what 
costs nothing is not valued—a disputable one at all 
times—is certainly not true of such places. 

On the ground floor is the statuary, and a long 
room given to miscellaneous foreign painters, 
which comprise one or two Englishmen. It is long 
since British work met our eyes, but here is Rae- 
burn, here is Reynolds with a portrait of Sir Wil- 
liam Chambers the architect, here is Lawrence with 
another portrait, and Constable with a study of 
clouds. But the picture that remains most clearly 
in my memory is a girl’s head by Goya. 

Upstairs we find our old friends Rubens and Van 
Dyck, Jordaens and Snyders, with one or two of 
their less familiar contemporaries, such as De 
Crayer with a rather theatrical but very lively 
“Miraculous Draught of Fishes,” and Cornelis de 


BRUSSELS 255 


Vos with some admirable family groups, including 
one of himself, his wife, and his children. Suster- 
mans, whom we saw in Florence, and who is here 
called Suttermans, has several portraits. But 
Rubens overshadows all. The favourite among his 
works is, I should guess, the great “Adoration,” 
where the manger has been translated into a palace 
of almost Paolo Veronese splendour, and the Ma- 
donna, richly dressed, holds out a plump and vigor- 
ous Infant, who, while being saluted by a kneeling 
mage, pats his bald head. The problem, usually so 
simple, is to discover Joseph. The “Assumption 
of the Virgin” has its worshippers too: a work of 
intense brio, with the Virgin being borne off to 
heaven by a cloud of cherubim, all drawn with 
power and mastery, at the very moment that the 
tomb is being opened. ‘The Italian masters, as we 
have seen, depicted lilies and other flowers spring- 
ing from the sepulchre (there is an example of this 
pretty fancy by Botticini in the London National 
Gallery), but Rubens disdained such unlikely 
southern imaginings. ‘The picture has an actuality 
which cannot be denied respect. ‘There are also 
some of Rubens’ brilliant sketches for paintings; 
a frame of negroes’ heads, or rather of the head of 
one negro, most sensitively modelled; and a beauti- 
ful portrait of the wife of De Cordes, and a power- 
ful one of Pierre Pecquius. The “Venus at the 
Forge of Vulcan” has a tremendous glow. 

The Brussels Van Dycks include the fascinating 
portrait of Duquesnoy the sculptor, and representa- 


256 A WANDERER AMONG PICTURES 


tions of St. Francis of Assisi and St. Anthony of 
Padua, that gentle youth, as he is usually depicted, 
being here very old and very tall, holding an in- 
finitesimal infant almost at arm’s length. 

Jordaens’ “The Drinking King” is a thing al- 
most unsurpassed for its sharp dexterity and the 
suggestion of gross conviviality. This picture, 
which Jordaens painted more than once—we saw 
a version in the Louvre—illustrates both an old 
custom and a family incident. The custom is of 
Twelfth Night, the “Féte des Rois,” when a cake 
is cooked with a bean in it and whoever gets the 
bean is crowned king of the evening. When he 
drinks, every one drinks, exclaiming “Le Roi boit.” 
Very well; while, one Twelfth Night, the Jordaens 
family were all merry-making, a stranger knocked 
at the door, weary and ill-clad, and was admitted 
and invited to join the circle. When the time came 
to divide the cake it was he who found the bean 
and who therefore occupied the throne at the head 
of the table; and behold, he turned out to be the 
painter’s long-lost brother! ‘That is the story. 

The “Pan and Syrinx,” also by Jordaens, is the 
work of a master, and you cannot pass carelessly 
by his “Portrait of an Old Lady.” Lastly, of the 
Flemings I would say that that most prolific of the 
smaller painters, David Teniers the younger, is to 
be found here in every mood. 

We saw at Antwerp an “Adoration of the Magi” 
by Old Brueghel, finished by one of his descendants. 
Here at Brussels is the original drawing as the 


BRUSSELS 257 


master left it; and completed by his hand it would 
have been as interesting and curious as anything 
that he did, even if the devout might be grieved, as 
they must be, by his version of the same subject 
in the London National Gallery. In that picture 
the satirical suggestion runs throughout; in the 
crowded scene at Brussels the painter’s scepticism 
is suggested by the open mouth of a donkey—which 
seems both to scoff and to bray. Of the authenticity 
of the other Old Brueghels at Brussels I am doubt- 
ful, with the exception of that remarkable arrange- 
ment of colour called “The Procession” and one 
version of “The Census at Bethlehem.” This is 
the one with the sunset. ‘There is another version 
without the sunset which does not look right. Re- 
membering the Viennese examples, it is difficult to 
accept “The Fall of Icarus.” But whoever painted 
these pictures—whether Old Pieter Brueghel, or 
Pieter Brueghel the second, or Jan Brueghel the 
elder, or Jan the second—there is no question that 
their inspirer, Old Breughel, or Peasant Brueghel, 
or Brueghel the Droll, as he was variously called, 
was a most remarkable figure in the history of 
painting, having no predecessors, and, after his 
family had done their worst with him, no artistic 
posterity. The son of a peasant in the village of 
Brueghel, near Breda, in Holland, he seems to 
have learned to paint from Pieter Coeck or Koek, 
to have married his master’s daughter, and then to 
have travelled in Italy and France, finally settling 
in Brussels and dying there in 1569, Little more 


258 A WANDERER AMONG PICTURES 


is known, but his pictures are increasingly admired 
as the years pass on. 

The Dutch rooms contain, as usual, examples of 
the highest quality, among them being three works 
by Nicholas Maes, who is a rare painter outside 
Holland. I noted a Berck-Heyde as good as a Van 
der Heyden, a Houckgeest church-interior as good 
as a De Witte, a Van der Croos landscape as good 
as a Van Goyen or very nearly. Another scarce 
paimter, Brekelenkam, has a very interesting cot- 
tage interior. Other pictures that I have marked 
are a stable by Cuyp, the “Weaver’s Repose” by 
Ostade, a little head by Terburg, Rembrandt’s por- 
trait of an old woman, Aert de Gelder’s Rem- 
brandtesque Jewish group called “The Gift,” a 
charming landscape by Wynants, a music party by 
Palamedes, a tiny but vivid portrait of Willem 
van Heythuysen, whom we saw in full length, with 
a sword, at the Liechtenstein, by the same painter, 
Frans Hals, and a landscape by that rare painter 
Jan Vermeer of Haarlem. 

A picture of peculiar interest is the head of a 
man in a big black hat, which the authorities boldly 
give to Jan Vermeer of Delft. It is not, I believe, 
accepted by Dr. Hofstede de Groot, but M. Van- 
zype includes it as authentic in his book on this 
mysterious master. It may not be Vermeer, but it 
is difficult to assign it to anyone else. The texture 
of the glove is very like the real thing, and it seems 
to me that there are signs of this artist’s peculiar 
green underpainting coming through the hand. 


BRUSSELS 259 


Gradually, as one’s eyes stray back to it, the grave 
face, with its steadfast gaze, becomes the most in- 
teresting thing in the room. 

One other picture I must mention because I had 
an unexpected opportunity of testing its merit. 
This is a candle-light scene—No. 416—by that spe- 
cialist in such matters, Gottfried Schalcken, a pupil 
of Gerard Dou: a larger picture than is usual with 
him. Well, during the evening, while I was sitting 
in that most admirable restaurant near the H6tel 
de Ville—Cordemans—the electric light went out, 
and we had to continue our dinner by candle; and 
then, looking round at the other guests, I saw how 
good Schalcken was. 

Let me add a few words about two excursions 
from Brussels which every picture-lover must make. 
One is to Bruges and the other to Ghent. What 
was the good news that was originally brought from 
Aix to Ghent no one knows, but the best news that 
Ghent could now spread to the world is that the 
Kaiser Friedrich Museum in Berlin has had, as a 
measure of war reparation, to render up its panels 
from the famous “Adoration of the Lamb” poly- 
tych in the church of St. Bavon, so that you may 
now see the picture as Hubert and Jan van Eyck 
painted it more than five hundred years ago, There 
is a copy in the Brussels Gallery to pave the way. 
Nothing could exceed the satisfaction of the cus- 
todian of this marvellous work at the German resti- 
tution; and his enthusiasm generally is a model, 
although perhaps rather too much concentrated 


260 A WANDERER AMONG PICTURES 


upon the Van Eycks’ powers as miniature painters 
than upon their imagination. It is with tremors of 
emotion that he hands you a magnifying glass with 
instructions to examine the “ ’orse’s heye.” 

The other excursion—unless, of course, you 
choose to make your headquarters in the city of 
the Belfry and catch or lose its floating melody at 
the corner of every demure street—is to Bruges, 
where a little room in the Hospital of St. John is 
dedicated to the genius of Hans Memling, that 
fascinating illustrator and colourist who settled in 
Bruges and died there in 1494. There are several 
easel pieces by him here, including the “Mystical 
Marriage of St. Catherine” and the portrait of 
Martin van Niewenhove, but the centre of attrac- 
tion is the casket, painted in 1480, and as fresh as 
then, on which is told the story of St. Ursula—the 
same story that we found Carpaccio telling in the 
Accademia in Venice. It is a question for each 
visitor to decide personally whether the virgins of 
‘Cologne or its spires and towers and machicolations 
are the most fascinating. Other works by Memling 
will be found in the Bruges Museum, together with 
those of Roger van der Weyden, Hugo van der 
Goes, Gerard David, and the greatest of all the 
early Flemings, Jan van Eyck himself. 





Photo Hanfstaengl 


THE ARRIVAL OF THE VIRGINS AT COLOGNE. Memling 
St. John’s Hospital, Bruges 





VIRGIN AND CHILD. Gerard David 
Brussels 


INDEX 


ABBREVIATIONS 


A. = Antwerp. 

Amb. = Ambrosiana Gallery. 
B. = Brussels. 

B.M. = British Museum. 
L. = Louvre. 

L.G. = Liechtenstein Gallery. 

Lux. = Luxembourg Gallery. 

N.G. = National Gallery. 

N.P.G. = National Portrait Gallery. 
P. = Prado. 
_» £.P.= Petit Palais. 
P.-P., Milan = Poldi-Pezzoli Museum, Milan. 


— 
Sivan 


AccapemiA, the, Florence, 148. 
- Venice, 165, 166-171. 
ZEsop’s fable of the Satyr and 


Peasant, 193. 

Aitken, Mr., Director of Tate 
Gallery, 44. 

Albertinelli, Mariotto: ‘“Altar- 
piece Triptych” (P-P., 
Milan), 129. 

Albrecht V and the Alte Pina- 
kothek, 189. 


Allegri, Antonio, see Correggio. 
Alleyn, Edward, founder of Dul- 
wich College, 63. 

Alphand, 107. 
Altdorfer, Albrecht, 183, 191. 
“Repose in the Flight to 
Egypt” (Berlin), 216. 
Ambrosiana Gallery, 127, 128. 
sista rt pktures in, 223- 


aie oe 74, 135, 155, 158, 
241. 


ffizi. 


” 


Angelico, Fra: “Annunciation 
P.), 120 


“Expulsion from Paradise” 
(Py 12). 
his career, 149. 
Angerstein, John Julius, his col- 
lection the nucleus of the 
National Gallery, 26, 33, 
35 


Anguisciola, Sofonisba, 38. 
Anna Maria, Electress Palatine, 
and the Uffizi, 135. 
Antonello da Messina, 196. 
and oil-painting, 169. 
“Crucifixion” (A.), 241. 
(N. G.), 32, 170, 241. 
“Head of Young Man 
(Berlin), 216. 
“St. Sebastian” (Dresd.), 
205. 
Antwerp, Dutch pictures in, 20. 
Museum of the Fine Arts, 
origin of, 241. 


” 


261 


262 


Antwerp, pictures in, 241-249. 
Arriaran: “Annunciation” (P.), 
119, 120. 


Bart, Joseph, 104, 107. 
Bailly, David: “Young Man” 
«L.), 80. 
Baldovinetti, Alessio: “Madon- 
na and Child” (L.), 75. 
Barbari, Jacopo de’, Diirer and, 
5 


205. 
“Galatea” (Dresd.), 205. 
Barberini, Palazzo, pictures in 
the, 160. 
Barbizon pictures, 93, 96, 97. 
Barend van Orley, 178, 203. 
Bargello, Florence, 152. 
Baroccio in the Uffizi, 137. 
Bartolommeo, Fra: “Deposi- 
tion” (Pitti), 148. 
“Presentation in the 
Temple” (Vienna), 181. 
“Vision of St. Bernard” 
(Accad., Flor.), 149. 
Bashkirtseff, Marie, 108-109 
Bassano, Jacopo: “Carrying of 
the Cross” (Vienna), 
183. 
Bastien-Lepage, “Henry Irving” 
N.P.G.), 62. 
“Landscape” (Lux.), 106. 
Beatrice d’Este, 128. 
portrait of (Amb.), 127. 
Beaumont, Sir George, a 
founder of the National 
Gallery, 26, 27. 
Beerbohm, Max, Caricatures at 
the Tate, 49. 
Befani: “Market-place”’ (Jeu 
de Paume), 108. 
Beit, Sir Otto, his collection, 
181 


Bellini family, the, 136, 138, 
169, 171. 
Bellini, Gentile, his career, 169. 
“Sultan Mohammed I” 
(N.G.), 31. 


INDEX 


Bellini, Giovanni, 30, 97, 166, 
176, 177, 219 
“Allegories” (Accad., 
Venice), 167. 
epi (Venice), 
165. 
“Christ Risen” (Berlin), 
215. 
“Death of S. Peter, Mar- 
tyr” (N.G.), 167. 
“Doge Leonardo Lore- 
dano” (N.G.), 30, 167. 
“Madonna with the Mag- 
dalen and S. Catherine” 
(Accad., Venice), 167- 
168. 
Madonnas in the Acca- 
demia, Venice, 167. 
“Pieta” (Brera), 126. 
“Santa Conversazione” 
(U.), 139. 
explanation of the pic- 
ture, 139-141. 
Bellini, Jacopo, his career, 168. 
sketch-book (B.M.), 169. 
Béraud: “The Club” (Lux.), 
106. 
Berchem, 81. 
Berck-Heyde, 258. 
“Street Scene” (N.G.), 
3. | 
Berlin, British pictures in, 21. 
Dutch pictures in, 20. 
pictures in, 213-219. 
Bernini, 160. 
Blake, William, 45. 
Blanchard: “Cimon and Iphi- 
genia” (L.), 90. 
Blanche: é “Interior” (Lux.), 
10 


Bles, 242. 
Blommers, 229. 
Bloot, Pieter de, 81. 
Bode, Herr von, and the Ber- 
lin Museum, 213, 214. 
wax bust of Flora, 214. 
Boilly, L. L., 57. 


INDEX 


Boilly, L. L., pictures of Paris 
street life (L.), 92. 
Bol, 203. 
“Portrait” (L.), 82. 
“Portraits” (Munich), 192- 
93 


193. 

Boldini: “Portraits” (Jeu de 
Paume), 108. 

Boltraffio, 76, 126, 130. 

Bone, Muirhead, ‘at. the Tate, 


Bbuivacio dei Pitati, 171. 
“Finding of Moses” 
(Brera), 126. 
Bonington, R. P., 46, 52, 54, 
, 58, 95 
his influence on French art, 
54, 70. 
“Geneva” (S.K.), 61. 
“Portrait of an old lady” 
(L.), 70. 
“Scene in 
(N.G.), 37. 
Bonnat portraits at the Luxem- 
bourg, 104. 
Bonsignori, 129. 
Bordone, Paris, 171, 177. 
“Portrait of a Venetian” 
(Munich), 196. 


Normandy” 


Borghese, Cardinal Scipione, 
161. 
Princess, Canova’s statue 
of, 160. 


Borromeo family, the, 127. 
Bosboom, 60, 229. 
Bosch, Hieronymus, 183. 
Botticelli, 135, 136, 155, 185, 205. 
and the Medici, 134, 136. 
“Calumny of Apelles” 
(U.), 136. 
Frescoes from the Villa 
Lemmi (L.), 92. 
“Judith and MHolofernes” 
(U)), 136. 
“Madonna and Child” (P. 
P., Milan), 129. 
(N.G.), 30. 


263 


Botticelli: “Madonna of the 
Magnificat” (U.), 136. 
“Madonna of the Pome- 
granate”’ (U.), 136. 
“Mars and Venus” (N.G.), 
39. 


“Pallas and Mercury” 
(U.), 1386. 
“Primavera” (U.), 136. 
Botticini: “Assumption of the 
Virgin” . (N.G),-~ 39, 
255. 
Boucher, 52, 56, 57, 94. 
“Diana leaving the Bath” 
(L.), 91. 
“Odalisque” (L.), 9 
“The Pompadour” 
97. 
Boudin, 46, 48, 60, 100. 
SPort ot -HoTrdegux 
(Lux.), 104. 
Bough, 


ip 
(L.), 


Sam: 
(Tate), 47. 
Bouguereau, 105. 
Bourdon: “Dutch Interior” 


“Landscape” 


Bourgeois, Sir Peter Francis, 
his bequest to Dulwich 
College, 63. 

Boursse: “Woman Cooking” 
(Wallace Collection), 54. 

Bouts, Dirk: “Christ and the 


Magdalen” (Berlin), 
217. 

“Entombment” (N.G.), 
34, 217. 

“Virgin and Child” (L.), 

fe two, 242. 


Brabazon, 50, 51, 58. 
Bramante in the Brera, 126. 
Brangwyn, Frank, 51, 108. 
Bredius, Dr., 235. 
Breenbergh: “Classical Land- 
scapes” (L.), 82. 
Breitner, 229. 
Brekelenkam, 64, 258. 


264 


Brera Gallery, Milan, 125-127. 
Breton, J ae ae by (P- 
.), 107. 
Breu, G., 203. 
“Madonna and Child” 
(Berlin), 217. 
Bray, De: “Still Life” (Dresd.), 
208 


British Museum, Print room 
exhibitions at the, 62. 
School, rarity of, in foreign 
galleries, 21. 
water-colours at S. K., 58. 
Bronzino: “Allegory” (N.G.), 
39 


“Medici portraits” (U.), 
1 


38. 
“Portrait” (Wallace), 56. 
“Portrait Group” (Vienna), 


181. 
“Young Sculptor” (Berlin), 
219 


Brouwer, Adriaen, 54, 182, 197, 
208, 235, 237, 249. 
“Landscape with ‘Tobias 
and the Angel” (N.G.), 
33, 197: 
“Smoker” (L.), 80, 197. 
“Study of a Head” (The 
Hague), 235. 3 
Brown, Arnesby, 51. 
Ford Madox, 47. 
Brueghel, Pieter, the Elder, 83, 
176, 177, 179, 192. 
his career, 257. 
“Adoration of the Magi” 
(A.), 256. 
(B.), 256, 257. 


“Adoration” (N.G.), 34, 
179, 256. 
“Census at Bethlehem” 


(B.), 257. 
“Farm Scene” (L.), 83. 


“Marriage Feast’? (Vien- 
na), 179. 

“The Procession” (B.), 
257. 


INDEX 


Brueghel, Pieter, the Elder: 
“Procession to Calvary” 
(Vienna), 180. 
“Tower of Babel” (Vien- 
na), 180. 
“Winter Landscape” (Vi- 
enna), 179. 
“Fall of Icarus” (B.), 257. 
Bruges, 260. 
Brun, Mme. Vigée le: “Boy in 
Red” (Wallace), 56. 
“Herself and Her Daugh- 
ter” (L.), 92. 
Brunelleschi, architect of the 
Pitti Palace, 145. 
Baptistery panel (Bargel- 
lo), 152. 
Brussels, pictures in, 153-260. 
Gallery the only free one, 


21, 254. 

Burlington House, Diploma 
Gallery at, 27, 62, 77, 
115n., 123. 


Burne-Jones, 47, 61. 
Burrell, Mr. William, collection 
of, 46 


Cameron, Sir David Y., 51, 
52, 58 


Camondo, Isaac, 99. 
collection at the Louvre, 
73, 99. 
Campin, Robert, pictures by, in 
National Gallery, 34-35. 
Canaletto, 127, 171. 
“Grand Canal with S. 
Simeone Piccolo” (Wal- 
lace), 53. 
Canova: Statue of Princess 
Borghese, 160. 
Capelle, Jan van de, 32, 182, 249. 
“Calm” (N.G.), 33. 
Caputo: “Symphony” (Jeu de 
Paume), 108. 
Caracci: “Pieta” (Doria-Pam- 
phili Gall.), 161. 
Caravaggio, 185. 


INDEX 


Carmine, Florence, frescoes in, 
150 


Carnavalet, the, 109. 
Caro-Delvaille: “Family 
Group” (Lux.), 105. 
Carolus-Duran, 104. 
“A Fencer” (Lux.), 106. 
“Mandolin-player” (Lux.), 
106. 


Carpaccio, Vittore, 126, 171, 
219. 


his career, 166. 
“Dream of S. Ursula” (Ac- 
cad., Venice), 167. 
paintings of the Story of 
S. Ursula (Accad., 
Venice), 166. 
pictures in S. Giorgio degli 
Schiavoni, 166. 
“Samson and Delilah” (P.- 
P., Milan), 129. 
Carriére, Eugéne, 105. 
Cartwright, William, bequest to 
Dulwich College, 63. 
Castagno, Andrea del, 151. 
“Crucifixion” (N.G.), 29. 
“Last Supper” (S. Apol- 
lonia, Florence), 151. 
Castello at Milan, the, 130. 
Catena: “St. Jerome” (N.G.), 
3 


“Warrior Adoring the In- 
fant Christ” (N.G.), 
31. 
Cazin, 104, 107. 
“Gambetta’s Death Cham- 
ber” (Lux.), 106. 
“Tshmael” (Lux.), 105. 
Cellini and Francis I, 71-72. 
Cesare da Sesto, 126, 129. 
Cézanne: “Maison du Penduw” 


Crépuscule” 
(Lux.), 104 

Chantrey bequest, the, 44, 50. 

Chardin, 36, 72, 90, 91, 184, 
195. 


265 
Chardin: “Le Bénédicité” (L.), 
91, 92. 
“The Cook” (L.G., Vien- 
na), 184. 
“Departure for School” 
(L.G., Vienna), 184. 


“Gabriel Godefroy  spin- 
ning a Top” (L.), 91. 


“The House of Cards” 
(L.), 93. 
“La Mére  Laborieuse” 


(L.), 91. 

“Self Portraits” (L.), 95. 
“Le Siffleur” (L.), 91. 
Charles III and the Prado, 114. 
Charles V and the Prado, 113, 

114. 
and Titian, 118, 175, 196. 
as a picture-lover, 114. 
head of (L.), 84. 
on his portraits, 196. 
Charles VIII and the Louvre, 71. 
Charlot, Louis, 103, 107. 
Chartrain: “Portrait of His 
Mother” (P.P.), 107. 
Chasseriau, 95. 
“Two Sisters” (L.), 93. 
Chauchard, M., 96. 
collection at the Louvre, 
96. 


Cima, 126, 129, 166, 171, 196. 
“Altarpiece” (N.G.), 39 
“Presentation of the Vir- 

gin” (Dresd.), 205. 

Cimabue, 74, 135. 

Clark fund, Francis, for the 

National Gallery, 28. 
Claude, Lorraine, 27, 36, 38, 
55, 64, 90, 195. 
his pictures hung with 
Turner’s, 38, 70-71. 
“Embarkation of sueee of 
Sheba” (N.G.), 7 
“Hagar” (N.G.), 36. 
“Marriage of Isaac and 
Rebecca” (N.G.), 38, 70. 
Cleve, Joost van, 178. 


266 


Clouet, Francois: “Portrait of 
a Botanist” (L.), 89. 

Clouets, at the Louvre, 89. 

Codex mab dae Leonardo’s, 
1 


Coello, 181. 
“Portraits” (Py). 219; 
Colicci, Signor, on the so-called 
Beatrice Cenci portrait, 
161. 
Collier, Tom, 58. 


“Confidence, The,’ Venetian 
picture in the Castello, 
Milan, 130. 


Constable, 36, 37, 46, 59, 70, 95. 
influence of, on French 
painting, 36, 70. 
“Hay Wain” (N.G.), 36, 
70. 


(S.K.), 5 

“Leaping Hore” (Burling- 
ton House), 6 

“Study of Cros” (B.), 
254. 


Coques, Gonzales: “The Five 
Senses” (A.), 249. 
Cornelisz, Jacob: “Triptych” 

(Vienna), 178. 
Corot, 36, 37, 97. 
on Boudin, 46. 
relics of, at Louvre, 98. 
“Bridge at Mantes” (L.), 


“Le Chemin de Sévres” 
(L.), 98. 

“La Danse des Nymphes” 
(L.), 9 

“A Doorway at Dinan” 


(L.), 9 
“Entrée ie Village” (L.), 
“La Femme & la Perle” 
(L.), 93. 
“Pillette a sa Toilette” 


(L.), 100. 
“Landscape” (Wallace col- 
lection), 54. 


INDEX 


Corot: “The Magdalen Read- 
ing” (L.), 98. 

“Le Moulin” (L.), 9 

“La Route de sy Noble” 


(L.), 98. 
“Le Vallon” (L.), 98. 
Correggio, 75, 130. 
“Antiope” (L.), 74. 
“Christ appearing to the 
Magdalen” (P.), 206. 
“Danaé” (Villa Borghese), 
159, 207. 
“Ganymede” (Vienna), 181, 


207. 
“Holy Night” (Dresd.), 
159, 201, 207. 
ioe (Vienna), 176, 181, 
207. 


“Mercury Instructing 
Cupid before Venus” 
(N.G.), 38, 159, 207. 

“Mystic Marriage of St. 
bn (L.) Pe7ias, 


ase: in Egypt” (U.), 


Cau se di: “Death of 
Procris” (N.G.), 39. 
Cossa, 205. 
Cotman, 58. 
“Wherries on the Yare” 
.G.), 36. 
Cottet, 105. 
“Fishing Scene” 
1 


Courbet, 61. 

Courtauld fund for modern 
pictures at the Tate, 44, 
49 


(Lux.), 


Couture, 54, 107. 

Cox, David, 46. 

Windy Dei Meco t 36. 

Cozens, J. R., 

Cranach, ieee aL 208. 
“Charity” (NG), 35. 
“Portrait of a Lady” 

(Vienna), 184. 


INDEX 


Cranach, Lucas: “Repose in the 
Flight to Egypt” (Ber- 


lin), 216. 
Triptych (N.G.), 29. 
Crayer, De: “Miraculous 


Draught of Fishes’ (B.), 
254 


Credi, Lorenzo di: 
(N.G.), 30. 
Crespi, Daniele: “Holy Family” 
(Castello, Milan), 130. 
Cristus, Petrus, 120. 
“Tittle Girl’s head” (B.), 
253. 
“Portrait of Young Girl” 
(Berlin), 217. 
Crivelli, Carlo, 39, 126, 169. 
Crome, Old: “Moonrise on the 
Yare” CIN Gr) SF. 
“Mousehold Heath” (N. 


Gay 37. 
“The Poringland Oak” (N. 
G.), 37. 


“Madonna” 


“Shepherd and Sheep on 
Mousehold Heath” (S. 


K.), 60. 
“Windmill” (N.G.), 36. 
Cross, Vander: “Landscape” 
(B.), 258. 
Cupola, Dresden, 204, 205. 
Cuyp, 33, 55. 
“Avenue” (Wallace), 53. 
“Evening Landscape” (N. 
hz:), 02, 
“Horsemen at a Tavern” 
(Wallace), 53. 
“Night Seapiece”’ (Mun- 
ich), 192-193. 
“Stable” (B.), 258. 


(Ii), 91. 
Dannat, 108. 
Daubigny: 

Oise” (L.), 9 


“Bateaux sur L’- 


267 


Daubigny: “Les Graves de 
Villerville” (L.), 98. 
“Le Marais” (L.), 98. 
“La Mare aux Cicognes” 


(L.), 98. 
“Les Peniches” (L.), 98. 
Daumier, 46, 61, 94, 107. 
David, Gerard, 141, 192, 242. 
“Adoration” (Vienna), 178. 
“Christ Nailed go the 
Cross” (N.G.), 

“Honest Judges” (A), 242. 

“Madonna and Child” 
(B.), 258. 

“Marriage in Cana” (L.), 
3 


83. 
David, Jacques Louis: “Madame 
Récamier” (L.), 93. 
“Madame _ Seriziat 
Child” (L.), 93. 
eats and the Pope” 
(L 
Davis, Edmund, his gift of pic- 
tures to France, 108. 
Dayes, Edwin, 58. 
De Jongh: “Portrait of Mother 
and Little Girl’ (Dresd.), 


and 


203. 
De Scévola: “Dancing Girl” 
(Lux.), 106. 


Déchemand, 107. 
Degas, 46, 48, 49, 61, 99, 106. 
“Absinthe Drinkers” (L.), 

99. 

Delacroix, 54, 92, 94. 

Delacroix’s palettes 
Louvre, 98. 

Della Robbias in Berlin, 219. 

Delville: “Platonic Assembly” 
(Jeu de Paume), 109. 

Denis, Maurice, 105, 106. 

Desenfans, Noel Joseph, his col- 
lection now at Dulwich, 


26, 63. 

Desportes: “Still Life’ (Mun- | 
ich), 195. 

Diaz at the Louvre, 96. 


at the 


268 

Dicksee, Frank: 
(Tate), 49. 

Diploma Pictures by R. A.’s at 
Burlington House, 62. 

Dolci, Carlo: “Madonna and 

Child” (N.G.), 38. 

Domenichino: “Chase of 
Diana” (Villa Borghese), 


159. 
“Cumezan Sibyl” (Villa 
Borghese), 161. 
Donatello: “David” (Bargello), 
152. 
“Niccolo da Uzzano” (Bar- 
gello), 152. 

“St.George” (Bargello), 152. 
Doria-Pamphili, Palazzo, 161. 
Dossi, Dosso: “Nymph and 

Satyr” (Pitti), 148. 
Dou, Gerard, 64, 81, 208. 
“La Femme Hydropique” 
(L.), 81. 
“Portrait of Rembrandt’s 
Mother” (Berlin), 218. 
“Poulterer’s Shop” (N.G.), 


“Harmony” 


32. 
“The Young Housekeeper” 
(The Hague), 235. 
Dresden collection, 201-209. 
Dresden, Dutch pictures in, 19. 
Gallery, origin and found- 
ers of, 201. 
Drost, Wilhelm, “Young Wo- 
man” (Wallace), 53. 
Dubbels: “Seascape” (N.G.), 
3 


33. 
Dulwich Gallery, 63-64. 
history of, 25, 27. 
Duplessis, Portraits, 91. 
Dupre, 96. 
Direr, 84, 119, 141. 
and J aeopo de, Barbari, 
205. 
his visit to Italy, 169. 
“Boy Christ among the 
Scribes” (Barberini Pal.), 
161. 


INDEX 


Diirer: “Crucifixion” (Dresd.), 


203 

“Madonnn and Child” 
(Vienna), 180. 

“Portrait of His Father” 


(N.G.), 35. 
“SS. Peter and Paul” 
(Dresd.), 


(Munich), 192. 
“Self-portrait” 
203. 
he 176, 
180. 
Triptych (Dresd.), 203. 
“Young Venetian Woman” 
(Vienna), 182. 
ae Woman” (Berlin), 
216. 
Diisseldorf collection now in 
Munich, 191. 
Dutch painters, brevity of their 
lives, 235. 
high general level of, 20, 
182 


(Vienna), 


perfection and diffusion of, 
19, 182. 
pictures, fine condition of, 


: “Boy and Butter- 
fly” (L.), 95. 
Duveen, Sir Joseph, his gifts to 
the Tate, 48. 
Dyce collection at S. K., 60. 
Babe hil Bay” (N.G. ), of, 


portraits by, at S.K., 61. 
Dyck, Sir Anthony van, 34, 79, 

80, 141, 148, 176, V7 
184, 190, 191, 194, 254. 

his association with Spain, 
119. 

career, 245-248. 

marriage, 194, 247. 

Beye Malderus” {(A.), 


“Charles I” (L.), 79. 
“Charles I on Horseback” 
(N.G.), 190. 


INDEX 


Dyck, Sir Anthony van: 
“Charles II as a Boy” 
(A.), 248. 


“Christ Entombed” (A.), 
248. 


ah van Se Geest” 

(N.G.), 

“Countess ag Oxford” ts); 

mer 19, 

“Crucifixion” (A.), 248. 

“Deposition” (A.), 248 

designs for “Decius Mus” 
tapestry (L.G., Vienna), 
184 


‘Duke of Richmond” (L.), 
79. 
“Duquesnoy, the Sculptor” 


(B.), 255. 

“English Gentleman and 
his Wife” (The Hague), 
236. 


“Flute Player” (L.), 84. 
“Girl with Two Dogs” 
(A.), 248. 

“Giustiniani 
(Berlin), 218. 

“Head of Old Man” (L.), 
84-85. 

“Héléne Fourment” (A.), 


248. 
“A Knight” (Dulwich), 64. 
“Lady Mary’ Ruthven 
(Munich), 194, 247. 
“Man in Armour” (Dresd.) 


202. 
“Marchesa 
Spinola” 
218 


Portraits” 


Geronima 
(Berlin), 215, 


“Marie Louise von Tassis”’ 
(L.G., Vienna), 184-247, 

“Martin Pepijn” (A.), 248 

aed and Child” (L. : : 


9 
“Philippe le Roy and his 
Wife” (Wallace), 55. 
“Portrait of Snyders” 


(A.), 248 


269 


Dyck, Sir Anthony van: “Por- 
traits” (Castello, Milan), 


“Princess of 
(Brera), 127. 

“Queen eon 
(Dresd.), 20 

“Van der Geese” (Munich) 
34, 194. 


Orange” 


EASTLAKE, Sir Charles, 31. 

Eleonora of Toledo and the 
Pitti, 145. 

Elsheimer, Adam, 217. 

Ertborn, Burgomaster van, col- 
lection of, 241. 

Etchevery: “Portrait of M. 
Lacroisade” (Lux.), 105. 

Eyck, Jan van, 189, 260. 

“Arnolfini Group” (N.G.), 


34, 217. 
“Cardinal della Croce” 

(Vienna), 178. 
“Madonna and Child” 


(Berlin), 217. 
“St. Barbara” (A.), 241, 


242, 253. 
Triptych (Dresd.), 201, 
203, 204. 
“Virgin and Child” (L.), 83. 
Eycks, the van, 120, 253. 
“Adoration of the Lamb” 
(Ghent), 259. 


Fasriano, Gentile da, 126. 
ran of the Magi” 
(U.), 1 
“Virgin ei Child” (N.G.), 


29. 

Fabritius, Karel (N.G.), 34. 

: “Goldfinch” (The Hague), 
235. 


Fantin-Latour, 107. 
“Hommage & Delacroix” 
(L.), 98. 
portraits at the Luxem- 
bourg, 104, 


270 


Farnborough, Lord, bequest to 
National Gallery, 28. 

Farnesina Villa, Raphael’s fres- 
coes at, 157 

Ferdinand I and the Viennese 
Gallery, 175. 

Ferdinand VII and the Prado, 
114 


(N. 


Féte Champétre School in Wal- 
lace collection, 56, 71. 
Fildes, 


Ferrarese- “Battle-piece”’ 
; 33) 


Luke: “The Doctor” 
(Tate), 49. 
Fiorenzo di Lorenzo at the 


Louvre, 75. 
Flameng, Francois: “Portrait 
of ‘Sem,’” (Lux.), 105. 
Flandrin: “Young Girl” (L.), 
93 : 


Flinck, Govert: “Portrait of a 
Girl” (L.), 82. 
Flora, Herr von Bode and the 
wax bust of, 214. 
Foppa, 129. 
“Little Boy 
(Wallace), 56. 
Forster collection at S.K., 60. 


Fossano, 129. 
Fouquet, Jean: “Madonna” 
(A.), 242. 
Fragonard, 57, 91, 97. 
‘La ’ Chemise 
L.), 94. 


( 

“Btude, ” Q4. 

“Le Voeu & ’Amour” (L.), 
91. 


Reading” 


Enlevée” 


Francesca, Piero della, 126. 
“Baptism of Christ” (N. 
G.), 30. 
“Nativity and Singing 
Angels” (N.G.), 30. 
“Portraits of Duke and 
Duchess of Urbino (U.), 


136. 
Francia, 126, 194, 205. 
“Altar-piece” (N.G.), 39, 


INDEX 


Franciabigio, 196. 
bees del 
(G5 
“Young Men” (L.), 75. 
Francis I and Leonardo da 
Vinci, 72, 125. 
the Louvre, i: 


Pozz0” 


Fraser, Mr. J. C. J., Driicker, 
his gifts to the National 
Gallery, 36. 

his gift to the Ryks col- 
lection, 228. 

Fréderic, Léon, 109. 

Frith, Ww. P.: BS Sec Dick- 
ens” (S.K.), 6 


“Derby Day” (N. G.), 37. 
Fyt, Jan: “Eagles Devouring 
their Prey” (A.), 249. 


Gapp1, Taddeo, 158. 
“Coronation, of the Virgin” 
(N.G.), 3 
Gainsborough, 7 60, 63, 65. 
“Dedham” (N.G.), 3 38. 
“His Two Daughters” (S. 


K.), 60. 
“Landscape” (Vienna), 
(Tate), 45. 
“Miss Haverfield” (Wal- 
lace), 56. 
erie: Bathing” 
(Tate), 4 
tbe Chere” (Tate), 


Galleries, “arrangement of, 17: 
characters of individual, 
18-19. 
patriotic, 18. 
picture, admission to, 21, 
72, 73, 254. 
Gauguin, 106, 107. 
“Tahiti Frieze” 
48. 


Gay, Walter, 83. 
“Interior” (Jeu de Paume), 
10 


(Tate), 


INDEX 


Gelder, Aert de: “Circumcision 

of Christ” (Vienna), 183. 
“The Gift” (B.), 258. 

Geoffroy: “Visit to the Hos- 
pital” (Lux.), 105. 

George V, King, loans to Na- 
tional Gallery, 28. 

“Gerard of the Night,” 161. 

Géricault at the Louvre, 94. 

aa in Munich, 
192 


Gervex: “Operating Theatre” 
(Lux.), 105. 

Ghent, Pictures in, 259. 

Ghiberti: “Baptistery Panel” 
(Bargello), 152. 

Ghirlandaio’s frescoes in S. 
Maria Novella, Florence, 
151. 

Ghirlandaio: “Priest and Aco- 


" “A dora- 


Giorgione, 168, ay, 177. 
rates Concert” (Pitti), 

4 
ome Champétre” (L.) 


“Family” in Palazzo Gio- 
vanelli, Venice, 166. 

“Gaston de Foix” (N.G.), 
31. 

et of Malta” (U.), 


138. | 

“Madonna and Child with 
Saints” (P.), 118. 

“Old Testament Scenes” 
(G,) 137. 

“Portrait of a Young Man” 
(Berlin), 215. 

“Sleeping Venus” (Dresd.), 
204. 


“Three Magi’ (Vienna), 
L7G ti 722). 

“Young Man” (Berlin), 
219. 


Giotto, 74, 135. 


271 


Giotto: er of St. Francis” 
.), 74. 
portrait of, by Uccello, at 
Louvre, 74 
Girtin, 58. 
Goes, Hugo van der, 135, 136, 
141, 260 
(Vien- 


“Double portrait” 
na), 178. 
“Holy Family” (B.), 253. 
Gogh, van, 4' 
Gossaert, Jan, 249. 
Goya, 78, 116, 117. 
his career, 117. 
statue of, 117. 
“Dona Isabel Corbo de 
Porcel” (N.G.), 35, 36. 
“Girl’s Head” (B.), 254. 
Wine VCE) 17 i. 
“Portrait of Himself” 
(Vienna), 183. 
“Queen Luisa of Spain” 
(Munich), 195. 

Goyen, van, 82, 182, 208, 249. 
“Landscape” (L.), 80. 
Gozzoli, Benozzo, his frescoes 

in the Riccardi Palace, 
150. 
Greco, El, 206. 
his career, 117, 118. 
“Agony in the Garden” 
(N.G.), 35. 
“Altar-piece” (L.), 77 
“Philip IV” (L.), 77. 
“Spanish Girl” (Munich), 
195. 
Greek painting, Roman copy of 
famous, 157. 
Greuze, 36, 52, 57, 60, 91. 
“L’Accordée de _ Village” 


(L.), 91. 
“The Broken Pitcher” (L.) 
91. 
Baldung, 183, 


Hans 
Grimmer, "Abel: “Pastoral 


Landscapes” (A.), 249. 


Grien, 


272 
Grimon, Alexis: Portraits (U.), 
141. 


Guardi, 32, 127, 130, 171, 195. 
“Custom House” ’(Wal- 


lace), 53. 
“The Rialto” (Wallace), 


53. 

Guillonat, 103. 

HasRLEM, pictures in, 236, 
237 


Hagen, Joris van der, 81. 
“The Plain of Haarlem” 
(L.), 80. 
Hague, The, pictures at, 233- 
238 


Hall, Oliver, 52. 
Hals, Frans, 20, 79, 97, 208, 
218 


and Rembrandt compared, 
236, 237. 

his life and vigour, 237. 

“Bohémienne” (L.), 79. 

“Dutch Nobleman” (A.), 
249. 

“Fish Girl” (Munich), 192. 

Groups (Haarlem Mus. ), 
236. 

“Hille Bobbe” (Berlin), 
215, 218. 

“Laughing Cavalier” (Wal- 
lace), 55. 

“Mother and Child” (Ber- 
lin), 218. 


“The Painter and his Wife, 
in a Garden” (Ryks), 
228. 


portraits by, in National 
Gallery, 33. 
ae heat Heythuysen” 
(B.), 2 
(L.G., Vienna), 184, 258. 
“Willeem Croes” (Mun- 
ich), 192. ! 
athe 104, 106. 
Heda, 2 
“geil “Life” (L.), 82. 


INDEX 


Heemskerck, Martin: “Vulcan, 

aS ‘and Venus” (Vien- 
183. : 

Helst, "Bartholewen van der: 
“Banquet of Presidents 
of St. Sebastian’s Guild” 
(Ryks), 228. 


“Landrichter Bicker” 
(Ryks), 228. 
“Old’ Woman’s Head” 


(Berlin), 218. 
“Portrait of Paul Potter” 
(The Hague), 234. 
portraits by, in Nat. 
Gallery, 33. 
hen J.J, “Magdalen Read- 
g in a Cave” (L.), 96. 
“Henri | iat at the Cross” (L.), 


89. 

Herkomer: “Selection Com- 
mittee of the Royal 
Academy, 1908” (Tate), 
51. 


Hertford, Marquis of, 52, 54. 
Hertford House, see Wallace 


Collection, 52. 
Heyden, Jan van der, 53. 
“Street Scene” (N.G.), 
33. 


Hoax, an artistic, 120. 
Hobbema, 32, 55, 64, * 249. 
“Avenue” (N.G.), 3 
“Village with Water * Mills” 


(N.G.), 33. 
“Water Mill” (Wallace), 
53. 


Hoekker, Robert van den, 182. 
Hogarth, 180. 
— Party” (Dulwich), 
“Marriage & la Mode” 
(Tate), 45. 
portraits by, at the Tate, 
45. 


“Scene from The yi: 
Opera” (Tate), 4 
“Shrimp Girl” (N. G. AY 37, 


INDEX 


Hogarth: “Sophonisba” (Tate), 
45. 
Holbein, 84, 191. 


“The ‘Ambassadors” (N. 
G.), 35. 

“Dr. John Chambers” 
(Vienna), 180. 

“Duchess of Milan” (N. 
.), 35. 

“George Gisze” (Berlin), 
216. 

“Queen Jane Seymour” 


(Vienna), 180. 
“Robert Cheseman” (The 
Hague), 236. 
“Sieur de Morette” 
(Dresd.), 201, 203. 
“Sir Thomas Godsalve and 
his Son” (Dresd.), 203. 
Holmes, Sir Charles, at the 
Tate, 51. 
Holwell-Carr bequest to the 
Nat. Gallery, 28. 


Homer, Winslow: “Coast 
Scene” (Jeu de Paume), 
108. 

Hondecoeter, 208. 

Hondt, 208. 

Honthorst, Gerard: “Scenes in 
oo Life of Christ” (U.), 
137. 


Hooch, Peter de, 182, 218. 
“Interior” (Wallace), 55. 
“Interior of a Dutch 

House, (N.G.), 38, 
225. 


Hoppner, 95. 

Houckgeest: 
(B.), 258 

Houghton, ee tise fate of 

, the, 25. 

Huber, Wolf, 183. 

Hunt, ‘Holman, 46. 

Hunt, 


“Church Interior” 


: “Study of 
Trees” (S.K.), 60. 
Huysum: “Flower-piece” (Wal- 

lace), 53 


278 


IncrEs, 61, 74, 92, 94. 
“Odalisque” (L.), 92. 
Innes, J. D., 51. 
Ionides, Constantine, collection 
at S.K., 60 
Isabey, 95. 
Israels, Josef, 60, 229. 


JACOBELLO DEL Fiore, 171 
Jacque, 96. 
Janssens, Cornelius, 
(Dresd.), 208. 
“John Donne” (S8.K.), 61. 
Jardin, Karel du, 81. 
Jeu de Paume, the, 107. 
John, Augustus: “Donegal Car- 
toon” (Tate), 49. 
“Rachel” (Tate), 51. 
“Robin” (Tate), 51. 
“Smilmg Woman” (Tate), 
50-51. , 
Jonas: “Portrait of Harpignies” 
(Lux.), 104. 
Jongkind, 100, 107, 109. 
Jordaens, Jacob, 55, 141, 254. 
his career, 248. 
“Christ Expelling the 
Moneychangers” (L.), 79. 
“Daughters of Cecrops” 
(Vienna), 183. 
“Diogenes with his Lan- 
tern” (Dresd.), 202. 
“The Drinking King” (B.), 


“Interior” 


256. 

“The Drinking King” (L.), 
79, 257. 

“The Drinking King” 
(Vienna), 178. 

“Family Concert” (A.), 


248. 

“Last Supper” (A. ), 248 ; 

“Pan and Syrinx” (B.), 
256. 

“Portrait of an Old Lady” 
(B.), 256. 

“Satyr in the Peasant’s 
Home” (Munich), 193. 


274 

Juan de Flanders: “Stations of 
the Cross’ (Vienna), 
178. 


KarseR FriepRIcH Museum, 
Berlin, characteristics of 
the, 213, 214. 
Kalf, 208. 
Kennington, 108. 
Keyser, Thomas de, 236. 
Portrait (L.), 82. 
Kneller, Gottfried, 209. 
Knupfer, 208. 
Koedijck: “Interior” (A.), 249. 
Koninck, Philips: ‘Landscape” 
(Berlin), 218. 
(Dresd.), 203. 
(N.G.), 33. 
(S.K.), 61. 
Krojer: Seapiece 
Paume), 108. 


(Jeu de 


La Caze collection at the 
Louvre, 72 
La Tour: “Marie Leczin- 
ska” (L.), 95. 
pastels by (L.), 95. 
Lamb, Henry: “Lytton Stra- 
chey” (Tate), 51. 
Lance, George, his restoration 
of Velasquez’ “Boar 
Hunt,” 35. 

Lancret, 56, 91, 92. 

Landseer, 57, 59. 

Laprade, 107. 

Lastmann, Pieter, 80. 

“Sacrifice of Abraham” 

(L.), 80. 

Lawrence, Sir Thomas, 54, 60, 
95. 


Portrait (B.), 254. 
Lawson, Cecil: “Harvest 
Moon” (Tate), 50. 
Layard bequest to the National 
Gallery, 28, 30, 34. 

Le Nain, Louis, 61, 195. 
Le Nain, the brothers, 89, 90. 


INDEX 


Le Nain, the brothers: “Ré- 
union of Peasants” (L.), 
90. 

Legros drawings at 8.K., 61. 


Leighton: “Bath of Psyche” 
(Tate), 49. 

Lenbach portraits (Munich), 
189 


Leonardo da Vinci and the Cas- 

tello at Milan, 1380. 

Francis I, 71. 

Michelangelo, their histori- 
cal cartoons, 150, 151. 

his career, 124-125. 

drawing for the Madonna 
with St. Anne (Burling- 
ton House, Diploma Gal- 
lery), 62, 77, 123 

his works at the Ambro- 
siana, 127. 

“Adoration of the Magi” 


(U)., 185. 
“Bacchus” (L.), 76. 
(?): “Ginevra dei Benci” 
(L.G., Vienna), 184. 
ae of Christ” (Brera), 
125. 


“John the Baptist” (L.), 76. 

an BE) mie Ferromiére” 
(L.), 7 

“Last titer. ” 124, 125. 

Bek Lisa” (L.), 125, 
22 


“St. Anne” (L.), 77. 

“St. Jerome” (N.G.), 158. 

ee of the Rocks” (L.), 
6 


(N.G.), 30, 126. 
Lepére, 107. 
Lépicié: “Portrait of an Artist” 
L.), 91 


Lépine: “Pont des Arts” (Pies, 
107. 
Leslie, C. R., 59. 


Lewis fund, Thomas Denison, 
oa the National Gallery, 


INDEX 


Inber Sept Turner’s, 47, 


Liberale da Verona, 195. 

Liechtenstein, Prince, collection 
of, 176, 183. 

Ilion as painted by Leonardo 
and Carpaccio, 158. 


Flora M., 50. 
Liotard: “Chocolate Girl” 
(Dresd.), 208. 
Lippi, Filippino: “Madonna 
Adoring” (U.), 136. 
“Madonna and Child” 


(Pitti), 148. 
“Madonna and Child with 
St. Jerome and St. Domi- 
nic” (N.G.), 39. 
Lippo Lippi, Fra: “Madonna 
and Child” (Berlin), 219. 
“Madonna and two Chil- 
dren” (U.), 1386. 
Lochner, Stephan, 137. 
Lombard school in the National 
Gallery, 30. 
Lomi: “Repose of the Holy 
Family” (L.), 75. 
Longhi, 127. 
“Masquerades” (Accad., 
Venice), 171. 
Loo, Van, 90. 
Lorenzo, Veneziano, 171. 
Lotto, Lorenzo, 171, 196. 
“Holy Family” (Vienna), 
177. 
“Madonna with Christ and 
St. John” (Dresd.), 206. 
portraits (Brera), 126. 
“Youth’s Head” (Vienna), 
176. 
Louis XI and the Louvre, 71. 
Louis XIV and the Louvre, 72. 
Louvre, the, 43-100. 
Sligo foundation of, 


special features of, 18, 19. 
Mer rips Ring the elder, 


275 


Ludger Tom Ring the elder: 
“Marriage in Cana” (Ber- 
lin), 216. 
Ludwig I and the Munich gal- 
lery, 189, 191. 

Luini, Bernardino, 76, 128, 129. 
frescoes at the Louvre, 74. 
“Madonna in the Rose 

Bower” (Brera), 125. 
“Virgin of the Columbine” 
(Wallace), 56. 
Lundens, Gerrit: copy of the 
“Night Watch” by (N. 
G.), 228. 
Luxembourg, the, 18, 103. 


Masuse, 34. 
“J oe carondelet” (L.), 
3. 
“St. Luke painting the Vir- 
gin” (Vienna), 178. 
MacColl, D. S., 58. 
McEvoy, Ambrose, 51. 
Maclise, drawings by, (8.K.), 
60 


Madrid, pictures in, 113-120. 
Maes, Nicholas: “Boys Bath- 
ing” (L.), 97. 
“Interior” (Wallace), 53. 
“The Never-ending Prayer” 
(Ryks), 228. 
“Old Woman saying Grace” 
(L.), 80. 
portraits (Munich), 193. 
“The Spinner” (Ryks), 


“Madonna 
Child” (L.), 75. 
Maitre de Flémalle, see Cam- 
pin, Robert. 
dit de Flémalle ou de 
Mérode (B.), 253. 
de Mérode, see Campin, 
_ Robert. 
Manet, 36, 49. 
“Dancing Girl” (L.), 108. 
“Olympia” (L.), 92, 


and 


276 


Manet: “Picnic” (L.), 98. 
Portrait of Berthe Morisot 
94, 


(L.), 
M. Duret CERNE) eel 
Madame Manet ft). 94. 
Mannheim collection, now in 
Munich, 190. 
Mantegna, 126, 219. 
Andrea: “Agony in the 
Garden” (N.G.), 30, 76. 
“Holy Family” (Dresd. ), 
206. 


“St. Sebastian” (L.), 76. 
“S. Sebastiano” in Ca 
d’Oro, Venice, 166. 
Triptych (U.), 138. 
Marie de Médicis, Rubens’ 
series in Louvre, 18, 80. 
Maris, James, 46. 
Maris, Matthew, 46 
“The Young Cook” (The 
Hague), 238. 
the brothers, 229. 
Marquet, 103. 
Martini, Simone, 158, 241. 
Mary Queen of Scots, portrait 
of, in National Gallery, 
36 


Masaccio, 151. 
“Altar-piece” (N.G.), 29. 
Mes ixecy sy and Child” (N. 
), 1 
Master re the Death of Mary, 
8 


the Virgin, 20 


“Altar-piece” (Munich), 192. 


Liesborn, 35. 
the Life of the Virgin, 191. 
Perle von Brabant, 191. 
Matisse, 106. 
Matsys, Quinten, 34, 217, 242. 
“Banker and his Wife” 


(L.), 84. 
“Fntombment” (A.), 249, 
“Magdalen” (A.), 249. 
“Peter Gillis” (A.), 249. 
“Salome” (A.), 249. 


INDEX 


Mauritshuis, The Hague, 233. 
and founders, history of 
233. 
Mauve, Anton, 229, 237. 
Maximilian, Emperor, and pic- 
tures in Vienna, 175, 176. 
Maximilian II. Emanuel, and 
the Munich Pinakothek, 
190. 
Mazarin’s picture collection, 72. 
Mazo, Del: “Family Group” 
(Vienna), 181. 
“Philip IL” (Vienna), 180. 
Medici, Cardinal Leopoldo de’, 
and the Pitti, 145, 148. 
Medici, Nr de’, and the Pitti, 
14 


Medici, Cosimo de’, the Elder 
133, 134, 149, 150. 
Me i de’, and the Uffizi, 


Medici aca and their rela- 
tion to the Uffizi, 133. 

Medici, Ferdinando II de’, and 
the Pitti, 145. 

Medici, Ferdinando II de’, and 
the Uffizi, 134. 

Medici, Francis I de’, and the 


Medici, Giovanni d’Averardo 
de’, 133. 
Medici, Lorenzo de’, il Mag- 
nifico, and the Uffizi, 
134, 150. 
Medici, Piero de’, il Gottoso, 
134, 150. 
Meer, Jan van der: “Land- 
scapes” (Berlin), 218. 
Meissonier, 52, 96. 
‘Retreat from Moscow,” 96. 
Memling, Hans, 34, 74, 141, 242. 
“Altar-pieces” (Vienna), 


178. 
“Heavenly Choir” (A.), 
249. 


“John the Baptist and the 
Magdalen” (L.), 83 


INDEX 


Memling, Hans: “Martyrdom 
of St. Sebastian” (B.), 


253. 
“Mystic Marriage of St. 
Catherine” (Bruges), 260. 
“Portrait of Martin van 


Niewenhove” (Bruges), 
260. 
“Shrine of St. Ursula” 


(Bruges), 260. 
“Synthetic Life of Christ” 

(Munich), 192. 
een ile ), 83. 


“Panorama of Schevenin- 
gen” (The Hague), 237. 
Gallery, The Hague, 237. 
Metsu, 32, 208, 235. 
aia Lesson” (N.G.), 


“Still Life” (L.), 82. 
“White Jug” (L.), 81. 
Michelangelo, 38, 155. 
and the Medici, 134. 
Michelangelo’s frescoes in the 
Sistine Chapel, 155, 156. 
greatness only appreciated 
in Rome, 156. 
“Brutus” (Bargello), 152. 
“David” and the “Pris- 
oners,” 149. 
oa, Family” (U.), 135, 


“Madonna and _ Child” 
(Bargello), 152. 
“Madonna and Child,” in 
Diploma Gallery of 
Royal Academy, 27, 62. 
“Temptation of Adam” 
(Sist. Chap.), 156. 
Mierevelt: “Dutch Girl” (Wal- 
lace), 55. 
Mieris, F. Ly “Tea-drinking”’ 


(L.), 8 
Milan, 123- 130, 


277 
Milanese School: “Head” (L.), 


94. 
Millais, Sir John E., 61. 
on Pre-Raphaelite aims, 46. 
“The Carpenter’s Shop” 
(Tate), 46. 
“Gladstone” (N.G.), 37. 


“North - West Passage” 
(Tate), 49. 

“Yeoman of the Guard” 
(Tate), 49. 


Millet, J. F., 61, 93, 94, 195. 
“La Bergére” (L.), 96. 
“Les Botteleurs” ey 98. 
“La Couseuse” (L.), 98. 
“Eglise de Greville’ (L.), 
98. 

“Précaution Maternelle” 
(L.), 98. 

“La Tricoteuse” (L.), 96. 

Moll, 60. 

“Head” (L.), 85. 
Monaco, Lorenzo, 150. 
Mond, Ludwig, bequest to Na- 
tional Gallery, 28. 
Monet, 98, 99, 103, 104, 107. 
“Rouen Cathedral” (L.), 
100. 
“Yacht Race at Argen- 
teuil” (Lux.), 104. 
Monticelli, 107. 
Mor, Antonio: Portraits (L.), 
74; (P.), 119. 

Moreau, Gustave, 91, 104. 
“The Seine” (L.), 91. 
Museum, 104. 

Moreau-Nelaton collection at 

the Louvre, 98. 
“Harfleur” (Lux.), 106. 


Moretto, 196. 
portraits by, in National 
Gallery, 32 
uy Justina” (Vienna), 
1 


Morisot, Berthe, 107. 
Morland the Elder: “Laundry- 
maids” (Tate), 45, 


278 
Morland the Elder: George, 45, 
57. 


“Lawyer” (N.G.), 32 
(L.G., Vienna), 


Moroni: 
Portrait 
185. 
portraits (Castello, Milan), 
130 


(N.G.), 32. 
Morrow, Mr. George, compared 
with old Brueghel, 180. 
Mottez, 107. 
“Unfinished Portrait of 
Madame M.” (L.), 92. 
Miller, 50. 
Munich, galleries in, 189-197. 
Pinakothek, its royal pa- 
trons, 189, 190, 191. 
Murillo, 52, 78, 116, 236. 
“Assumption of the Vir- 
gin” (€L.), 78. 
“La Cuisine des Anges” 


(L.), 78. 
“Flower Girl” (Dulwich), 


“Holy Family,” known as 
“The Little Bird” (P.), 
116. 

“Immaculate Conception 
(L.), 78. 

“Madonna” (Wallace), 56. 

“Tos Ninos de la Concha” 
(P.), 116. 

“Seville Street Urchins” 
(Munich), 195. 

“Virgin as an Infant” (L.), 
78. 

Museo Civico, Venice, 171. 

di San Marco, Florence, 

148. 


”? 


NAPOLEONIC loot at the Louvre, 


72. 
National Art Collections Fund, 
the, 26, 28, 72, 151. 
Gallery, first idea of, 25. 
history of, 25-29. 
Portrait Gallery, 62. 


INDEX 


Nattier, 57. 
“Madame Henriette” (L.), 
94. 


portraits (L.), 91. 
Neer, Aert van der, 197. 
Netschr, 208. 
(Wallace), 


“Lace-maker” 
53. 
Nicholson, William, 108. 

“Miss Jekyll” (Tate), 51. 
“Still Life” (Tate), 51. 
Noordt, Joannes van: “Boy and 

Hawk” (Wallaee), 53. 
Noort, Adam van, 243, 248. 
Northcote: “Sir Joshua Rey- 

nolds” (S.K.), 60. 
“Nozze Aldobrandini,” 157, 


OcHTERVELT, 208. 
Oggiono, Marco d’, 130. 
his copy of Leonardo’s 
“Last Supper,” 123. 
Oil painting, introduction of, 
168 tsk 


Orchardson, 50. 
Orpen, Sir William, 51, 52. 
“Café Royal” (Jeu de 
Paume), 108. 
“The Model” (Tate), 51. 
Ostade, Adrian van, 80, 82, 197, 
208, 236. 
fecundity of, 19. 


“Weaver’s Repose” (B.), 
258. 
PacHEerR, Michael (Vienna), 


Palais des Beaux Arts, Brussels, 
254 


seat “Music Party” 
Palma Vecchio, 129, 166, 171, 
177, 205. 


“Adoration of the Shep- 
herds” (L.), 76. 

“Holy Family” (Dresd.), 
206. 


INDEX 


Parmigianino: “Cupid Shaping 
his Bow” (Vienna), 176, 
181. 
“Madonna and _ Infant 
Christ”? (Dresd.), 207. 
Pasture, Rogier de la, see Wey- 
den, Roger van der. 
Pater, 56, 94. 
Patinir, 120. 
“Baptism” (Vienna), 178. 
“Peepshow” (N.G.), 34. 

Penni, Francesco, 158. 
Perronneau, pastel by, in Na- 
tional Gallery, 36. 

Perugino, 129, 155, 181. 
three panels by (N.G.), 30. 
“Virgin Appearing to St. 
Bernard” (Munich), 194. 
Pesellino: “Nativity” (ty 75. 
“Trinity” (N.G.), 28, 30. 
Petit Palais, the, 106, 107. 
Philip II, his love of pictures, 
114 


Philip IV and the Prado, 114. 

Philip V and the Prado, 114, 

Philip John: “Copy of Detail of 
Las Meninas” (Diploma 
Gallery, R.A.), 115. 

Pico della Mirandola, 134. 

Picture-hunting, pleasures of, 


Pieta (School of Avignon) (L.), 


Pietro Teapoldo, Archduke, and 
the Accademia, 135. 
Pinturicchio, 155. 
“Madonna and Child” 
(N.G.), 28. 
Pinwell, G. J., 50. 
Piombo, Sebastiano del, 147, 
166, 196. 
“Holy Family” (L.), 76. 
Pisanello: “St. Anthony and St. 
George” (N.G.), 31. 
Pitti collection compared with 


the Uffizi, 146. 
Gallery, 145-148. 


279 


Pitti, Luca, 145. 
Pittone, G. B., 127. 
Pius X and the Vatican Pinaco- 
teca, 158. 
Poelenburg, 81 
Pointelin, 104. 
Poldi-Pezzoli collection at 
Milan, 129. 
Signor, portrait of, 129. 
Pollaiuolo: ‘“Girl’s Head” (P.- 
P., Milan), 130. 
Pordenone: portraits (Castello, 
Milan), 130. 
Portraits of artists by them- 
selves, 148. 
Pot, 208. 
Potter, Paul, 82, 235. 
“Bull” (The Hague), 233, 
234. 
“Landscape with Cattle” 
(Wallace), 53. 
poe of Cattle” (lee), 


“Trees” (Berlin), 218. 
Pourbus: “Allegory” (Wallace), 
56. 


Poussin, Nicolas, 36, 65. 
“Apollo and Daphne” 
(Munich), 195. 
(Mu- 


Bhat S pes 
nich), 1 

“Copy of a Bellini” (N.G.), 
32, 36. 

“Funeral of Phocion” (L.), 


90. | 
“Inspiration of a Poet” 


(L.), 90. 
“Portrait of Himself” (L.), 
90 


“Shepherds of 
(L.), 90. 
Prado, the, 18, 113. 
Pre-Raphaelites at South Ken- 
sington, 46. 
the Tate, 46. 
Predellas not to be neglected, 
138. 


Arcady”’ 


280 


Predis, Ambrogio de, 126. 
“Beatrice d’Este” (Amb.), 


128 
“y] (Amb.), 


128. 
Prud’hon, Pierre, 54, 91. 
“Christ on the Cross” (L.), 


Petit 


Musicista”’ 


at the 


cay arehe Josephine” 

“Marie Tre ceuieatte Leg- 
nier” (L.), 91. 

“Portrait of Mile. Meyer” 
(L.), 95. 

“Portrait of a Young Man” 
L.), 92. 

“Zephyr” (L.), 97. 

Pryde, 108. 

Puvis cron catet 100, 105, 

10 


“St. Genévieve frescoes at 
Pantheon,” 109. 


RaEBuRN, 45, 95, 209, 254. 
“Portraits of Mr. and Mrs. 

Hobson” (S.K.), 60. 
Raffaelli: ‘Political Meeting” 

(Lux.), 105. 
Raffaello del Garbo, 194- 


195. 
Raphael, 77, 186, 146, 155. 

“Balthasar Castiglione” 
(L.), 76. 

“Canigiani Holy Family” 
(Munich), 194. 

“Cardinal Alidosi’” (P.), 

“School of 


119. 
Cartoon for 
Athens” fresco (Amb.), 
127. 
Cartoons (S.K.), 58. 
“Coronation of the Virgin” 


(N.G.), 158. 
“Disputa” (Vatican), 157. 


INDEX 


Raphael: “La Donna Velata” 
or “La Fornarina” (Pit- 
ti), 146. 
“Holy Family” (L.), 74. 
“Jeanne d’Aragon” (L.), 
ea 


‘La Belle Jardiniére” (L.), 


76. 

“Madonna al Verde” (Vi- 
enna), 181. 

“Madonna dei 
(N.G.), 39, 202. 

“Madonna del Cardellino” 

Jon bS0; 

“Madonna del Granduca” 
(Pitti), 146. 

“Madonna della Sedia” 
(Pitti), 146. 

“Madonna di Casa Tempi” 
(Munich), 196. 

“Madonna di San Sisto” 
(Dresd.), 201, 202. 

“Miraculous Draught of 
Fishes” (8.K.), 58. 

“Procession to Calvary” 
(N.G.), 39. 

“Portrait of Leo X with 
Cardinals” (Pitti), 146. 
“School of Athens” (Vati- 

can), 157. 
“Sposalizio” (Brera), 126. 
“Vision of Ezekiel” (Pitti), 
147. 
“Vision of a Knight” (N. 
G.), 39, 77. 
Raphael’s Bible, 157. 
Regnault, 95. 
Rembrandt, 32, 52, 94, 176, 184, 
218 


ae Hals compared, 236, 
237. 


etchings at S.K., 61. 
his career, 226. 


Ansidei” 


“Abraham and Isaac” 
(Munich) , 192. 
“Artemisia” (P.), 1 


_ “A Burgomaster” (A . 249, 


INDEX 281 


Rembrandt: “Cornelis Claesz 


Group” (Berlin), 216. 
“Daniel’s Vision” (Berlin), 
216. 
“David Playing before 
Saul” (The Hague), 


“Descent from the Cross” 
(Munich), 192, 197. 

“Elizabeth Bas’ (Ryks), 
226. 

“Ganymede” (Dresd.), 203. 

“Girl at a Window” (Dul- 
wich), 63. 

“Head of a Boy” (Wal- 
lace), 53. 

“Hendrickje Stoffels” (Ber- 
lin), 216. 

“Holy Family” (L.), 81. 

“Jean Pellicorne and his 
Wife and Children” 
(Wallace), 54. 

“Jewish Bride’ (Ryks), 
226. 

“Landscape” (Wallace col- 
lection), 53. 

“Man in Golden Helmet” 
(Berlin), 216. 

“Man with a Turkey” 
(Dresd.), 203. 

“Manoah” (Dresd.), 203. 

ae Watch” (Ryks), 


“Old Woman” (B.), 258. 

ee Woman Weighing 
d” (Dresd.), 203. 

“the Philooephen" (N.G.), 


“Philosophers” (L.), 81. 

“Pilgrims at Emmaus” 
(L.), 81. 

Portrait (Brera), 127. 

(Dulwich), 64. 

“Portrait of Sylvius” 
(Munich), 192. 

“Samson” (Dresd.), 203. 

“Saskia” (A.), 249. 


Rembrandt: “Saskia in Saucy 


Mood” (Dresd.), 203. 
“Saskia with a Pink” 
(Dresd.), 203. 
“School of Anatomy” (The 
Hague), 233, 234. 

“Self Portrait” (N.G.), 33. 
(L.G., Vienna), 184. 
“Simeon in the Temple” 

(The Hague), 235. 
“Six Representations of the 
Passion” (Munich), 196. 
here Son Titus” (Wallace), 


depen Bathing” (The 
Hague), 235. 

“Syndics” (Ryks), 226. 

“Titus Reading” (Vienna), 
182. 


“Tobit” (L.), 81. 

“The Unmerciful Servant” 
(Wallace), 55. 

yas and Cupid” (L.), 
9. 

“William doelaak Maan 
(Dresd.), 2 

tbe 3 Bathing” (N.G.), 


Wana with the Pearls” 
(L.G., Vienna), 184. 


(L.G.,  Vi- 


Reni, Guido, 38. 


“Adoration” 
enna), 185. 

“Beatrice Cenci” (so- 
called) (Barberini Gall.), 


161. 
Renoir: “Two Girls at the 


Piano” (Lux.), 104. 


Reynolds, Sir Joshua, 37, 60, 


65, 180, 209. 
on the Velasquez portrait 
of Pope Innocent X, 161. 
See Keppel” (Tate), 


othe Infant Samuel” 
(Tate), 45. 
“A Lady” (S.K.), 60 


282 


Reynolds, Sir Joshua: “Miss 
Bowles with her Dog” 
(Wallace), 55. 

“Mrs. Carnac” (Wallace), 
55 


“Mrs. Nesbit with a Dove” 
(Wallace), 55. 

“Nelly O’Brien” (Wallace), 
6 


56. 

“Perdita Robinson” (Wal- 
lace), 57. 

“Mrs. Richard Hoare with 
her Son” (Wallace), 56. 

“Robinetta” (Tate), 45. 

“Dr. Samuel Johnson,” 
“Great Lexicographer” 
(Tate), 45. 

“Sir Wm. Chambers” (B.), 
254 


Ribera, 77, 117: 
Ribot, 46, 104, 107. 
“La Bavardeuse” (Lux.), 
106 


Rich, A. W., 51. 
Richter, Adrian Ludwig, 217. 
Rigaud, Hyacinthe: “Bossuet” 


(L.), 90. 
“Louis XIV” (L.), 90. 
“Young Aristocrat” (L.), 
94 


Robbia, Luca and Andrea della, 
15 


Bs 
Robinson, F. Cayley, 108. 
Rocco, §., Scuola di, Venice, 
165 


Rogers, Samuel 31. 
Roll, 107. | 
Romano, Giuilo, 158. 
Rombouts, 208. 
Rome, pictures in, 155-161. 
Romney, 45, 95. 

nak and Child” (N.G.), 

3 


“Perdita Robinson” (Wal- 


lace), 57. 
“Serena” (S.K.), 61. 
Rondinelli, Niccola, 161. 


INDEX 


Salvator: “Gambling 
Scene” (Dulwich), 64. 
Rossetti, Dante Gabriel, 47, 61. 
Rousseau, 95, 96. 

“Bords de La Loire” (L.), 
98 


“Les Chénes” (L.), 98. 

“L’Etang” (L.), 98. 

“Forest Scene” (L.), 93. 

“Landscape” (Wallace), 54. 

“Le Marais dans _ le 
Landes” (L.), 98. 

“Mere at Evening” (Tate), 
98 


Rosa, 


“La Plaine des Pyrenees” 
(L.), 98. 
“Le Printemps” (L.), 98. 
Rowlandson, 61. 
Royal Academy, see Burling- 
ton House. 
Diploma Gallery of. See 
‘ under Burlington House. 
Roybel, 106. 
Rubens, Sir Peter Paul, 18, 19, 
20, 34, 79, 176, 177, 184, 
190, 192, 194, 217, 254. 
his career, 242-246. 
in Spain, 118, 119, 194, 242. 
sketches by, in the Louvre, 
84 


Wallace collection, 55. 
vigour and abundance of, 


, 19. 
“Adoration” (B.), 255. 
“Adoration of the Kings” 
(A.), 245. 
“Archduke Albert” (Vi- 
enna), 183. 
“Assumption” (A.), 245. 
“Assumption of the Virgin” 


(B.); 255. 
“Chapeau de Paille” (N. 
G.), 244 


“Chateau ‘de Steen” (N. 
244 


G.), 244. 
“Child’s Head” (L.G., Vi- 
enna), 184, 


INDEX 283 


Rubens, Sir Peter Paul: “Christ 


Crucified” (A.), 245. 
“Christ’s Charge to St. 
Peter” (Wallaee), 55. 
“Consequences of War’ 

(Pitti), 148. 
“Crucifixion” (A.), 245. 
“Descent from the Cross” 

(A.), 245. 
designs for “Decius Mus” 

tapestry (L.G., Vienna), 

184 


“Drunken Silenus” (Mun- 
ich), 193. 

“Festival of Venus” (Vi- 
enna), 177 

“Héléne Fourment” (Vi- 
enna), 178, 244. 

“Hélene Fourment with 
Her fon” (Dresd.), 


244, 
“Holy Family” (Wallace), 


‘Tneidente i in Life of Henri 
IV” (U.), 141. 

“Tneredulity of St. Thomas” 
(A.), 245. 

“Tsabella Eugenia” (Vi- 
enna), 183. 

“Landscape” (L.), 84. 

“Landscapes” (N.G.), 34. 

“Landscape with Thunder- 
storm” (Vienna), 178. 

“Last J eg (Mu- 
nich), 19 

“Lion Hunt” (Munich), 
193. 

“Marie de Médicis” (P.), 
119. 

series in Louvre, 18, 80, 
243. 

sketches for (Munich), 
192 


“Maximilian 1” (Vienna), 
7 


178. 
“Night Piece’ (Dresd.), 
202. 


Rubens, Sir Peter Paul: ‘“Per- 


”? 


seus and Andromeda 
(Berlin), 218. 

“Pierre Pecquius” (B.), 
220. 

“Philip IV” (Munich), 198. 

“Portrait of Himself with 
his First Wife” (Mu- 
nich), 193. 

“Portrait of his Two Sons” 
(L.G., Vienna), 184, 245. 

“Portrait of his Two 
Wives” (The Hague), 
236. 

“Prodigal Son” (A.), 245. 

“Queen Isabella” (Mu- 
nich), 193. 

“Rainbow Landscape” 
(Munich), 193. 

(Wallace), 55. 

“St. Ambrose and the Em- 
peror Theodosius” (Vi- 
enna), 178. 

“St. Anthony of Padua” 


“St. Francis of Assisi’ 


rSt: Cecilia” (Berlin), 218. 
“St. Ignatius Casting out 
Devils” (Vienna), 178. 

“Seneca” (Pitti), 148. 

“Studies of Negroes” (B.), 
255. 

“Susanne Fourment” (N. 
G.), 34, 244. 

“Dr. van Thulden” (Mu- 
nich), 193. 

“Triptych of Dead Christ, 
Virgin and St. John” 
(A.), 245. 

“Triumph of Silenus” (N. 
G.), 34. 

“Venus at the Forge of 
Vulcan” (B.), 255. 

“Venus Frigida” (A.), 245. 

“Wife of De Cordes” (B.), 
181. 


284 
Rubens, Sir Peter Paul: “His 
Wife and Two Children” 
(L.), 79. 
Rue de la Boétie, Paris, attrac- 
tions of, 109. 
Ruisdael, Jacob van, 208, 237. 
“Shore at Scheveningen” 
(N.G.), 32. 
“View of Haarlem” (The 
Hague), 235. 
“Windmills” (Dulwich), 64. 
Ruisdael, Salomon van, 32, 79, 
182, 207, 218, 237. 
“Landscape” (N.G.), 32. 
(Wallace), 53. 
Russell, W. W., 52. 
Ryks collection, origin and 
growth of, 224. 


museum in Amsterdam, 
the, 223. 
q 
“Sr. Agnes and St. Dorothy” 
(A.), 249. 
“St. Denis, Martyrdom of” 
(L.), 89 


“St. Paul Reading” (N.G.), 35. 

“St. Ursula, story of,” 166, 167. 

Salaino, Andrea: “St. John” 
(Amb.), 129. 

Salon Carré at the Louvre, 73, 


Salting, George, as a collector, 
33 


bequest of pictures to Na- 
tional Gallery, 28, 33. 

Sandby brothers, 58. 

Sandby, Paul: “View on 
Thames” (8.K.), 60. 

Sano di Pietro, 75, 158. 

Santa Croce, Francesco da: 
“Portrait of a Woman” 
(Berlin), 219. 

Sargent, 50, 51, 237. 

“Carmencita” (Jeu de 
Paume), 108. 

“Coventry Patmore (NP. 
G.), 62. 


°F3 


INDEX 


aed bie “Henry James” (N.P. 
), 62. 
ja Ribblesdale” (N.G.), 
3 


“Venice” (P.P.), 107. 
“Wertheimer _—— Portraits” 
(N.G.), 37. 
Sarto, Andrea del, 56, 75, 
161. 


and Francis I, 71. 

“Abraham and _ Isaac” 
(Dresd.), 208. 

“Deposition” (Pitti), 148. 

frescoes in cloisters of An- 
nunziata, Florence, 151. 

frescoes in the Scalzo, Flor- 
ence, 151. 

eo Family” (Munich), 
1 


(Pitti), 147, 148. 

“John the Baptist” (L.G., 
Vienna), 184. 

“Portrait of Himself” 
(Pitti), 148. . 

“St. Catherine” (Dresd.), 
206. 

“St. John the Baptist as a 


Boy” (Pitti), 148. 
oe Sculptor” (N.G.), 


Sassoferrato, 38, 185. 
“Madonna” (Doria-Pam- 
phili Gall.), 161. 
Schalcken, 208, 249. 
a Scene” (B.), 


Scheffer, Ary, 95. 

Schiavone, 177. . 

Schlichting collection at the 
Louvre, 97. 

Schongauer, Martin, 191. 

Scorel, Jan, 178. 

Scott, Samuel, 61. 

Seeman, Enoch, 209. 

Seghers, Hercules: “Land- 
scapes” (Berlin), 218. 

“Landscape” (U.), 141. 


INDEX 


Sap eta collection, the, 46, 


Ereeokeuis John, 59. 
Shoosmith, T. L., 58, 
Siberechts, 84. 
Sibyl, the Cumzan (Borgnese 
Gall.), 161. 
Persian (Wallace), 161. 
Samian (Barb. Coll.), 161. 
Sidaner, Le, 106. 
Signorelli, Luca, 219. 
“Altar-piece” (N.G.), 39. 
ee and Child” 


(U.), 187. 
“Pan” (Berlin), 216. 
Simon, Lucien, 107. 
Sisley, 98, 99, 103, 107. 
“Cour de Ferme” (Lux.), 


104, 
ei on the Seine” (L.), 
Sistine Chapel frescoes, 155, 
156 


Slingelandt, 82. 

Snyders, 202, 254. 

Société des Amis du Louvre, 72. 

Sodoma, 126. 

Solario, Andrea, 76, 126, 129. 

Sorine, “Portrait of Pavlova” 
(Jeu de Paume), 109. 

Soult, Maréchal, and his way of 
collecting pictures, 78, 
116. 

Spagnoletto, Lo, see Ribera. 

Stanfield, Clarkson, 57. 

Steen, ted 20, 54, 80, 81, 182, 

6 


“A Family Feasting” (L.), 
ey Scenes” (Ryks), 


phe Menagerie” (The 
Hague), 236. 
“Music Master” (N.G.), 


34, 
“The Oyster Feast” (The 
Hague), 236 


285 


Steen, Jan: “Samson Mocked 
ie the Philistines” (A.), 


“Skittle Players” (N.G.), 


“Wedding Feast” (A.), 249. 
Steer, Wilson, 58. 
“Landscapes” (Tate), 51. 
Stevens, Alfred, 47, 50, 109. 
his career, ‘49, 
Wellington Monument in 
St. Paul’s, 49. 
“Mrs. Collmann” (N.G.), 
37, 50. 
Stoop, Dirk, 208. 
Stothard, “Canterbury  Pil- 
grims” (Tate), 45, 242. 
“Knight of Malta” 
(Brera), 127. 

Gilbert: “Benjamin 
West” (Tate), 45. 
Stuart, William: “Henderson 

‘the Actor” (S.K.), 61. 
Stubbs, 38. 
Sustermans, 141, 148. 
portraits (B.), 255. 
Sweerts: “Family Group” (N. 
G.), 33, 255 


Tate Gallery, the, 43-52. 
Sir Henry, collection of, 48, 


Scams 


Stuart, 


44, 
Temple-West fund for the Na- 
tional Gallery, 28 
Ten Cate, 107. 
Teniers the Younger, David, 
208, 256. 
fecundity of, 19. 
Tenré, 106. 
Terburg, 182, 237, 249. 
“Concert” (Berlin), 218. 


(L.), 82. 

“Full Length” (N.G.), 34. 

“Guitar Lesson” (N.G.), 33. 

“Head” (B.), 258. 

“Lady Reading a Letter” 
(Wallace), 53. 


286 INDEX 


Terburg: Portrait (L.), 95. 
“Portrait Group” (Haar- 
lem), 287. 
mee ‘drawings by (S.K.), 
6 


Theotocopuli, Domenico, see 
Greco, El. 
Thiers bequest at Louvre, 95. 
Thomy-Thiéry collection at the 
Louvre, 97. 
Tiepolo at the Louvre, 77, 97, 
127, 171, 195. 
Frescoes in Palazzo Labia, 
Venice, 166. 
sketches at Dulwich, 64. 
“Conception” (P.), 119. 
“The Trojan Horse” (N. 
G.), 32 


Tintoretto, 75, 165, 170, 206. 
“Battle-pieces” (Munich), 
195 


“Finding of the Body of St. 
Mark” (Brera), 126. 

“Marriage at Cana” (Ven- 
ice), 165. 

“Miracle of St. Mark” 
(Accad., Venice), 170. 
“Origin of the Milky Way” 

(N.G.), 31, 170. 
portraits (Pitti), 147. 
“Presentation in the Tem- 

ple” (Venice), 165. 
“Scourging of Christ” (Vi- 

enna), 183. 

“Sebastiano Veniero” (Vi- 


Nat: in the Bath” 
“Women’s Heads” (P.), 
119. 

Titian, 119, 136, 168, 171, 
176. 
“Allegory of Alphonse 
d’Avalos” (L.), 77. 
“Antiope” (L.), 74. 


“Apotheosis” (P.), 114. 
“Aretino” (Pitti), 147. 


Titian: “Assumption” (Venice), 


“Bacchus and Ariadne” 


(N.G.), 31. 
“La Bella” (Pitti), 147. 
“Cardinal Ippolito” (Pitti), 
47. 


14 
pees. Vv” (Munich), 
196. 


“Charles V before God the 
Father, the Madonna 
and Child” (P.), 147. 

“Charles V on Horseback” 
(P.), 147. 

“Child with Tambourine” 
(Vienna), 176. 

“His Daughter Lavinia” 
(Dresd.), 206. 

“Ecce Homo” 
176. 

“Entombment” (L.), 74. 

“La Fecundidad” (P.), 118. 

“Flora” (U.), 138. 

“Francis I” (L.), 71. 

“Gipsy Madonna” (Vi- 
enna), 176. 

“La Gloria” (P.), 118. 

“Herodias with the Head 
of John the Baptist” 
(Dore Pa Gall.), 


“Lanta! (L.), 76. 

“Madonna and Child” 
(Munich), 196. 

“Madonna with the Cher- 
ries” (Vienna), 176. 

“Madonna of the Roses” 
(U.), 138. 

“Madonna and Child with 
Saints” (Dresd.), 206. 

“Magdalen” (Pitti), 147. 

en with a Glove” (L.), 

“Man with a Palm” 
(Dresd.), 206. 

“Noli me tangere” (N.G.), 
31, 204. 


(Vienna), 


INDEX 


“Pessaro Madonna” 
(Venice), 165. 

“Pieta” (Accad., Venice), 
170. 

“Portrait of 
(Munich), 196. 

“Presentation of the Vir- 
gin” (Accad., Venice), 
170. 

“Sacred and Profane Love” 
(Villa Borghese), 204. 
“Self Portrait” (Berlin), 

219. 
aaa Mosti” (Pitti), 


“Tribute Money” (Dresd.), 
201, 206. 

“Venus” (Uffizi), 204. 
“Venus Blindfolding Cupid” 
(Villa Borghese), 159. 
pene au Lapin” (L.), 

6 


“The Young Englishman” 
(Pitti), 147. 
Tocqué: portraits (L.), 91. 
Tonks, Henry, 51. 
Toulouse-Lautrec, 94. 
Tribuna in the Uffizi, the, 137. 
Troy, Jean Francois de: “Hunt 
“serial (Wallace), 
5 


Troyon, 93, 96. 
“Le Matin” (L.), 98. 
“Le Promenade des Poules” 
(L.), 98. 
Turner, 47, 58, 60, 95. 
bequest to National Gal- 
lery, 28, 38, 44 
characteristics of his art, 
19, 48. 
his pictures in competition 
with Claude, 38, 48. 
rooms at the Tate, 43. 
“Crossing the Brook” (N. 
G.), 37. 
“The Evening Star’ (N. 
G.), 48. 


gle} 


Titian: 


Aretino” 


287 


Turner: “The oa Témé- 
raire” (N.G.), 3 
one, Morning” "G. ), 
3 


“Sun Rising through Va- 
pour” (N.G.), 38. 


Uccet1o, Paolo, 74. 
“Rout of te Romano” 
(N.G.), 2 
Uffizi Gallery, fe 18, 133-141. 
Urban VIII, Pope, and the 
Barberini pictures, 160. 


VappEerR, L. de: “Landscape” 
Munich), 197 
Vallotton, 103. 
“Still Life” (Lux.), 105. 
Vasari, Giorgio, architect of the 
Uffizi, 135. 
Vatican frescoes, 155-158. 
picture gallery, 157, 158. 
Veber, Jean, 107. 
Velasquez, 52, 114, 116, 118, 
236. 


and Philip IV, 114, 198. 
(?): “Admiral Pulido-Pa- 
reja” (N.G.), 35. 
“FEsop” (P.), 115. 
“Alessandro del 
(Berlin), 216. 
“Don Balthazar Carlos” 
(Wallace), 56. 

“Boar Hunt” (N.G.), 35. 
“Los Borrachos or The 
Topers” (P.), 115, 244. 

“Dead Turkey” (L.), 78. 

“Infanta Margarita Ther- 
esa” (Vienna), 180, 183. 

“Lady with a Fan” (Wal- 
lace), 55. 

“The Lances, or Surrender 
of Breda” (P.), 115, 116. 

“Landscapes” (P.), 116. 

ao Meninas” (P.), 115, 


“Philip IV” (Dulwich), 63 


Borro” 


288 


Velasquez: “Pope Innocent X” 
ee ae Gall.), 
“portrait of 


Himself” 
(Munich), 195. 
“Portraits of Philip IV” 
(N.G.), 35. 
“Portrait of Young Man” 
(Munich), 195. 
“Spanish Lady” (Berlin), 
216. 


“The cae ated of Weav- 
ers” (P.), 116. 
ees and Cupid” (N.G.), 


Velde, ‘Rairian van der: “Girl” 
(Dresd.), 208. 
“Snow Scene” (L.), 81. 
Velde, W. van de, 32. 
“Scheveningen” (L.), 81. 
“Seascape” (Dulwich), 64 
(N.G.), 33 
Venetian churches containing 
famous paintings, 165, 
166. 
Venice, pictures in, 165-171. 
lac at Her Toilet” (L.), 
9 


Verelst, 218. 
Verkolie, Jan, 82. 
Vermeer, Jan, van Delft, 235. 
“Artist in His Studio” 
(Czernin Gall., Vienna), 
185. 
“La Dentelliére” (L.), 81. 
“Girl Reading” (Dresd.), 
208. 
“Head of a Young Girl” 
(The Hague), 234. 
“The Letter” (Ryks), 228. 
“Little Street” (Ryks), 227. 
“Maidservant Pouring 
Milk” (Ryks), 227. 
‘Man in Black Hat” (B.), 
258. 
“Pearl Necklace” (Berlin), 
215, 218, 224. 


INDEX 


Vermeer, Jan, van Delft: “View 
of Delft” (The Hague), 
234. 
“Young Courtesan” 
(Dresd.), 203. 
Vermeer, Jan, of Haarlem, 81, 
208. 
“Landscape” (B.), 258. 
Vernet, Horace, 91. 
Veronese, Paolo, 32, 97, 159, 
166, 206. 
“Adoration” (Munich), 196. 
“Crucifixion” (Dresd. f 
206. 
“Disciples at Emmaus” 
(L.), 74. 
“Feast in the House of 
a (Accad., Venice), 
| 


“Feast in the House of 
Simon” (L.), 74. 

“St. Helena” (N.G.), 32. 

“Sketch for a Calvary” 
(L.), 76. 

Verrocchio, 219. 
“Baptism of Christ” (U.), 
5. 


13 
“David” (Bargello), 152. 
school of: “Madonna and 
Child with Angels” (N. 
30 


G.), 30. 
“Angel eee bs To- 
bias” (N.G.), 3 
Victoria and Albert at 
South Kensington, 57. 
Victoria, Queen, gifts by, to the 
National Gallery, 28. 
portrait of, at Dulwich, 65. 
Vienna collections, new addi- 
tions to, 182. 
ne ‘and galleries in, 
175 


pictures in, 175-185. 
Views from picture gallery win- 
dows, 71. 
Vignon: “Landscape” (Lux.), 
106. 


INDEX 


Villa Borghese, 159, 160. 
gardens of, 160, 161. 

Vivarini, the, 171. 

Vois, Ary de, 82. 

Vos, Cornelis de: “Family 
Groups” (B.), 254. 
“Guildsman” (A.), 249. 
Portraits (Wallace), 57. 

“Two Children” (Berlin), 


218. 

Vos, Simon de: “Self Portrait” 
(A.), 249. 

Vries, De, 249. 

Vroom: “Landscape” (N.G.), 
82. 


Waker, Frederick: “Harbour 
of Refuge” (Tate), 50. 
Wallace collection at Hertford 
House, 52-57. 
Wallace, Sir Richard, 52. 
Watteau, 56, 64, 94, 95. 
Watts, G. F., 49. 
Tonides portraits at S.K., 


60. 

“Love and Life” (Jeu de 
Paume), 108. 

“Thomas Carlyle” (S.K.), 
60 


Weenix: “Assemblage of Birds” 


(A.), 249. 
“Landscape with Figures” 
(Dulwich), 64. 
Weissenbruch, 229. 
Wertheimer gift of Sargents to 
the National Gallery, 28. 
Weyden, Roger van der, 141, 
. 242, 253, 260. 
“Madonna” (Vienna), 178. 
“Philippe de Croz” (A.), 
242. 


“St. Luke Painting the 
Madonna” (Munich), 
192. 


289 


Weyden, Roger van der: “Seven 
Sacraments” (A.), 242. 
Triptych (L.), 83. 
Wheatley, John, 51. 
Whistler: ‘““Nocturne—Blue and 
Silver” (N.G.), 37. 
“Old Battersea Bridge” 
(Tate), 51. 
“Portrait of His Mother” 
(Jeu de Paume), 108. 
Wildens, 202. 
Wilkes, John, proposal of, to 
build picture gallery, 25. 
NA ee amas 45, 60, 61, 64, 


“on the Wye” (N.G.), 
Wimperis, E. M., 58. 
ane Victory, ” the, 
yt 


Wint, Peter de, 58, 60. 
“Cornfield” (S.K.), 60. 
Witte, Emmanuel de, 182, 218. 

“Church Interior” (N.G.), 


33. 
Witte, de: “Fish Market” (N. 
i} ) O8: 
Wouwerman, Philip, 53, 64, 82, 
236 


Wynants, Jan, 81. 
“Landscape” (B.), 258. 
(Dulwich), 64 


ZACHTELEVEN: “Portrait” (L.), 


82. 
Zoffany, 180. 
“Family Group” 
37 


Zuloaga, 108. 
Zurbaran, 117. 
“Group of Theologians” 
(Berlin), 216. 
Zweibriicken pictures, now in 
Munich, 190. 


(N.G.), 

































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